When I came across Tomas Jakobsson‘s photographs from ‘South’ I was intrigued. They are minimal. Strange. Dark. Brooding. You can barely see what he’s looking at. What interests him. His photographs are enigmatic. All one can ask is why?
The truth is that Jakobsson is interested in the inconsequential. In the things we do not notice. His magpie eye picks out shapes and lines, forms around him, and imbues them with meaning, with a symbolic power that gives them significance beyond their everyday ubiquity; a cheek of a woman’s face, an open window, dense fog on a lonely road, a field of grain, a dead bird decaying on the hard ground, a fairground ride. All of them immersed in a subdued palette of grey or muted colours and gradiated in infinite possibilities.
These are pictures of another world that exists within our own and Jakobsson takes great care to reveal the extraordinary from behind the veil of ordinariness. It’s this exercise in conceptual deconstruction that makes these photographs so appealing. Even his portrait of the man is rendered mysterious. Unreal. Imagined.
I can find out little about Jakobsson. I did have a quote from ‘a Tomas Jakobsson’ but it was from the wrong man. I only found out when this photographer emailed me back about the post. Oh dear. At least he liked what I wrote about his work. So let the pictures speak for themselves.