Alongside the release of Luke Stephenson's lovely photography book, Village Bookstore feature several of his ice cream photographs. The book and prints featured pay homage to the history of the 99 ice cream cone, a quintessential symbol of British seaside culture. The unmistakable 99 cones stand side by side, each unique in its swirled technique, some tarted up with strawberry sauce and sprinkles, some standing alone with the iconic Cadbury’s flake. All are nostalgic and probably delicious. Described with reference to the All-American road trip down route 66, the inverse for Stephenson was a tour of the 99, investigating the way that the classic treat shaped the British psyche and the way each one is still lovingly and uniquely made around the coastlines of Blighty. You can buy the book from Village- with the option to pay a little more for a signed edition.
As fans and stockists of Printed Pages Village also feature a piece by Mauritzio di Iorio the photographer who captured the cover image of the Spring 2014 issue. Very much in the same vein, his zesty print is saturated in colour. Di Iorio’s work focuses on the aesthetic objectivism of an item, producing images that require a second look. Corey Bartle Sanderson's prints similarly do this. Entitled ‘Supermarket Simulacrum’, his series photographs fruit and vegetables set against a marbled background. The fruit's outer skin is painted to achieve this marble camouflage effect, commenting on the increasing complexity of the organic versus artificiality, and what we believe to be true versus an image of truth that is presented to us. Intelligent stuff, but the prints are still very pretty so even if you don’t ‘get’ all that, be sure to check out Corey’s work.
Molly Cranna's still life selection is taken from a wider series of prints, which captures a sugary scene, pastels and patterns juxtaposed against pink and blue hues; objects arranged with a deliberate feel. The food featured in Cranna’s series spans American fairground style offerings (exotic Twinkies and Corndogs) to canned sardines and pink wafers, capturing the sweet alongside the slightly grotesque in a study of object fetishism.
It’s hard to say whether any of these images make us feel particularly peckish (maybe the ice creams on a hot, nostalgic day) but their studies of food and the way it can be used as a tool makes for very interesting still life portraits. Pop into Village for a closer look.