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Also stock at The Photographers' Gallery and Magazine Brighton</text>
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                <text>This book is a call to celebrate self awareness of one’s own body and the skin we live in, expressed through the improvised movement of two dancers.&#13;
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“You should wear a bra. It’s more polite.” the lady behind the underwear stand said to me while I was browsing. It was an early morning a few years ago. I went to the local market with my mum, which is one of my favourite things to do when I am back home in Taichung, Taiwan.&#13;
&#13;
Coming from Asia, which is relatively conservative about our bodies compared to Western culture, wearing bras is one of the unspoken social customs to follow otherwise you may be seen as promiscuous because you are exposing your body.&#13;
&#13;
The feeling of shame about our bodies of course isn’t limited to my culture.&#13;
&#13;
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&#13;
“I think it’s time to take the clothes off.” Is what I said to Akti and Xristina, best friends and both dancers, when I photographed them on separate occasions.&#13;
&#13;
20% of profits go to Refuge working for women and children against domestic violence.</text>
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Book photos: © The Book Photographer</text>
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&#13;
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&#13;
Their collaboration explores the relationship between the inner vision of the drawings and the physical world they inhabit as photographs. The work blurs the lines between expression and documentation, landscape and still life, and the mediums of photography and drawing. These dichotomies display a dialogue not only between the artists, but also a conversation with the planet itself. The earth is, in a sense, the third collaborator.&#13;
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              <text>Dirtyillness</text>
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              <text>Dirtyillness</text>
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              <text>ISBN: 978-1-9162765-1-2</text>
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              <text>https://www.dirtyillness.com</text>
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              <text>https://www.dirtyillness.com&#13;
&#13;
https://www.waterstones.com/book/habitat/daleya-marohn/9781916276512</text>
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                <text>Habitat</text>
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                <text>Habitat is a series of photographs taken between 2016 and 2020. Marohn captured these photographs of homelessness whilst walking through Central London. During 2016 Marohn became acutely aware of an increase in tents outside London Underground Stations. It was then she decided to document the looming epidemic of homelessness.&#13;
&#13;
Marohn was drawn to the subject by the stark contrast between the misery of homelessness and the wealth of the city. With their meagre belongings, they invariably made a very distinct ‘habitat’ out of their environment even in the most extreme circumstances. They made out of what little they possessed or could find a kind of identifiable ‘home’. It became routinely obvious that many passers-by were oblivious and lacked care due to desensitisation.&#13;
&#13;
The project was approached counter-intuitively. Marohn documented the subject matter by removing all human presence from the frame to avoid an invasion of privacy. This had an effect of heightening a sense of desolation, isolation and destitution. Simultaneously, the eccentric and highly individualised ‘order within disorder’ was brought into sharp relief.&#13;
&#13;
Marohn states: “I was conflicted as I found a certain aesthetic beauty in the arrangement of the material objects in the frame, yet it was difficult witnessing scenes of deprivation in this wretched social condition.”&#13;
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Matt 170gsm&#13;
Sewn Perfect Bound&#13;
&#13;
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                <text>2020</text>
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                <text>Dirtyillness</text>
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        <name>"Home"  "Habitat"  "Homeless"  "Homelessness"  "London"</name>
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