Produced on the occasion of Nat Faulkner’s exhibition Strong water at Camden Art Centre, 16 January–22 March, 2026.

1:1 presents an extensive series of hand-produced contact prints by the artist, derived from a single large format image taken by Faulkner of a peppered moth (Biston betularia) – a widely studied example of ‘industrial melanism’. During the Industrial Revolution soot from factories darkened the bark of trees and through a process of natural selection the lighter form of this moth, once well-camouflaged, became more visible to predators and its numbers diminished. Meanwhile, a darker (melanic) variant became more common, due to being better camouflaged against the soot darkened trees. This phenomena, the artist has observed, holds resonances with the processes of photography itself – in the production of positive and negative images.

With texts from Gloria Hasnay and Sean Steadman. Designed by George Haughton.

Scully’s Run is a new photographic monograph by Frederik Worm, accompanied by texts from Dora Budor and Alexandra Symons-Sutcliffe. Through a series of subtle and sensous images, Worm constructs a visual language attuned to dislocation, attention and the fragility of spatial belonging. The publication considers the movement not only through space, but through the image itself as a conscious relational act. In a world where the conditions of ‘home’ feel increasingly unstable, Scully’s Run proposes a way of seeing that could be both resistant and tender. Designed by stanza.

Arthur Rimbaud in New York, one of David Wojnarowicz’s incursions into photography, is the articulation of a testimony to urban, social and political change in New York.

Wojnarowicz, using the figure of the accursed poet as the only way for an artist to intervene in reality, chronicles his own life and his emotional relationship with New York City in the late 1970s. The artist portrays a number of friends with a life-size mask of the French poet Arthur Rimbaud, thereby taking on his identity and highlighting the parallels in their lives: the violence suffered in their youths, the feeling of being denied freedom, the desire to live far away from the bourgeois environment and the fact of their homosexuality.

*Please note this publication is secondhand and may have some traces of previous ownership.

Selected images from the 1949 Les Jeux de la poupée (The Game of the Doll) a landmark collaborative work by Hans Bellmer and poet Paul Éluard. Features the hand-coloured photographs of Bellmer’s mutated, jointed female dolls arranged in unsettling, dreamlike poses that blur the line between desire, control, and dismemberment. The images, both tender and disturbing, exemplify Bellmer’s obsession with the fragmented female form and reflect his resistance to the fascist ideal of bodily perfection. The photographs are a key surrealist exploration of eroticism, identity, and the unconscious. Les Jeux de la poupée remains one of Bellmer’s most significant and works.

Hans Bellmer (1902–1975) was a German artist best known for his provocative life-sized dolls and surrealist photography. Bellmer began constructing articulated female dolls in the 1930s, photographing them in unsettling, dreamlike scenes that explored themes of eroticism, control, and fragmentation. His work was condemned by the Nazi regime as “degenerate,” prompting his move to France in 1938, where he became associated with the Surrealists. After the war, Bellmer abandoned doll-making and focused on erotic drawings and prints. He lived in Paris with his partner Unica Zürn until her suicide in 1970, and continued working until his death in 1975.

Robert Ashton, born in Melbourne in 1950, is an Australian photographer known for his distinctive documentary style that emerged in the 1970s. After studying photography at Prahran College (1969–71), he became immersed in a creative community that included Carol Jerrems, Paul Cox, and cousin Rennie Ellis, with whom he shared a studio and worked at Brummels Gallery. His 1974 book Into the Hollow Mountains, documented everyday scenes in Fitzroy with striking intimacy. It was recently republished in an expanded edition. He has exhibited widely and is known for using hand-built large format cameras and traditional printing methods such as photogravure and the Collodion process to produce his work.

This book presents previously unpublished work by George Tourkovasilis (1944–2021), a photographer and writer who lived between Paris, London, and Athens. Spanning the 1960s to the 2000s, his images move between diaristic depictions of radically intimate moments and sociological chronicles, while his incisive writing on art, politics, and desire brings its own syncopated reflections. Following his death in 2021, Akwa Ibom, Radio Athènes, and Melas Martinos assumed stewardship of his archive – prints, negatives, manuscripts, correspondence, and digital files – and organized three exhibitions: Spent at Akwa Ibom, The Night, Sleep at Radio Athènes, and Strange Switch at Melas Martinos, which are documented here. Drawing on material unearthed from the archive over the past year, including previously unseen digital and phone photography, this book offers a new perspective on a practice that largely eluded the public eye yet remained prolific and generous in private. Edited by Helena Papadopoulos, Julie Peeters & Maya Tounta. Designed by Julie Peeters.