The humid atmosphere of Carolyn Drake’s photography collection “Knit Club” feels similar in tone to the first season of HBO’s “True Detective,” with its twisty take on Southern gothic and the charged intersection of the occult and outsider art.
” are on the wall at the Yancey Richardson Gallery, so they can only hint at that book’s peculiar power. But one is enough to suggest the mix of mystery and wit that got the volume short-listed as PhotoBook of the Year in the 2020 Paris Photo-Aperture Awards. That picture is of a group of eight women huddled together as if for a formal portrait, and all but obscured by the extravagantly flowering azalea branches they hold.
“There are people in town who call it a coven,” a member named Claire says, and it’s that witchy aura which Drake tends to tease out. The humid atmosphere she conjures resembles a feminine counterpart to the first season of HBO’s “,” with its twisty take on Southern gothic and the charged intersection of the occult and outsider art. Her subjects—all, but one, women—are often seen through a smoky haze or otherwise partly hidden.
Maybe that’s why she sees the club as a kind of a secret society—something she’s protective of and hesitant to share. After working at the edge of photojournalism , Drake, I suspect, is enjoying the freedom of conflating fact and fiction. Like so many photography books these days, hers delves into the rich, weird randomness of real life to both ground the reader and keep us off guard.
,” a novel that fractures narrative and shuffles points of view but unites them with the uncanny logic of a dream.
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