Quoted By:
>Do you think being surrounded by such an expansive archive has given birth to projects in and of itself? Your book B Sides immediately springs to mind.
SG: Not really. It’s strange, because I’m one of those people that, as much as I like to protect the work I’ve done and archive and number it and so on, I’m also not very good at looking backwards. When I get older I probably will start opening these boxes again, but I rarely do. B Sides, weirdly, was a book that was a companion to Coming Up For Air, but in a way I look at it as one of those strange bodies of work that almost made and assembled itself. These are pictures I just didn’t want to let go of. They made so much sense to me but for some reason jarred or just didn’t allow themselves to go into the Coming Up For Air book, so they were all sort of cast aside. Looking at them as a group it just made sense, and in the future I didn’t want to make a new edition of Coming Up For Air with some new added pictures, revised and updated. I absolutely wanted to stand by these pictures now and didn’t see them as some sort of afterthought. In some way I almost prefer B Sides because it feels a lot more relaxed than Coming Up For Air, which had so much effort put into its edit and is much more complex, but B Sides sort of assembled itself and I think you can feel that in a way.
"The Kestrel"
