“Though tactically quiet, American Origami is a profoundly dark and moving testament to how gun violence has ravaged the American school experience. It stands alone as perhaps the most intelligent and graceful photographic account of how communities metabolize this almost seasonal horror, and how mass shootings have become a deeply painful part of the American fabric.”
- Paul Reyes, Editor of the Virginia Quarterly Review
American Origami (2013 - 2018) Moving between the poetic and the forensic, American Origami closely examines the epidemic of mass shootings in American schools. The work weaves together forensic documents, original and found photographs, and first person narratives to illuminate the relationships between cruelty, myth making, and collective trauma. The book will be released by FW:Books in spring, 2019.
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Some(W)Here ( Self-Published, 2005 - 2012 )
"Those who like landscape, portraiture, architecture, or documentary will not be intrigued. Those, however, who like the paintings of Redon and the films of Bergman or the surreal dream poems of Breton will find this book quite to their liking." - Christopher Johnson, Photo-Eye
$45 // Sold Out
Signed Copy // Sold Out
Special Edition // Sold Out
Excerpt from review by Marc Fuestel for Eyecurious
... Like the subconscious, Some(w)here does not neatly catalogue memories of different times and places, but instead allows them to shuffle together into a more complicated and confused whole. Much of what we see is revealed through a window or behind curtains and the reflective matte paper stock itself contributes to this impression of distance from the subject. While it deals with many of photography's major themes—place, time, memory, dreams and reality—it isn't interested in making any grandiose statements. It is a quiet and modest book (it fits nicely in the palm of your hand), a book of emotions and atmosphere rather than of concept or ideas. It successfully conjures up the world of dreams and of memory, but without offering any particular resolution: Gonzalez's images obstruct as much as they reveal, and the impression that the book leaves is elusive and even a little frustrating, like an intense dream that you cannot quite remember.