Final Maths cover

New publication ‘Mathematics’ self published in an edition of 12, plus 23 non-commercial copies.

Editions 1/12 to 10/12 sold, and editions 11/12 to 12/12 available at £750 each, including secure, trackable posting.

This new work draws energy from the idea that at the deepest level, mathematics is the ‘code behind everything’, and includes images made from Norway to Sicily, and Northern Ireland to Istanbul between 2011 and 2015.

61 full colour plates, 76pp, 310mm x 270mm, hardback with dust jacket, essay by Mark Durden, my afterword, design by Peter Willberg.

Secure, Trackable delivery in UK within 7 days, and International 14 to 28 days.

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‘Mathematics’ edition £750 Each

Quoted from Mark Durden’s essay in the book ‘Glimmers of Perfection’,

‘Mathematics opens with an extraordinary but deceptively straightforward picture of differently numbered and coloured pool balls, arranged in their triangular black frame and with the white ball sitting centrally on top. The balls are set against the intense blue of the table, a blue that resonates throughout Fraser’s oeuvre, symbolic of a near-spiritual beyond and central to his ‘portraits’ of intelligent machines, in his series entitled Deep Blue (the name given to the computer that beat Gary Kasparov at chess) and integral to the transcendent note created by the pairing of two blue buckets. Both planetary and atomic allusions are strongly resonant in this picture of pool balls. A simple detail from the familiar contemporary world opens out to suggestions that take us elsewhere, raising fundamental questions about the order of things and our place in the world.

Fraser’s use of digital photography and the proposition that we may see the world mathe- matically allows him to realise a radical formalism in which photographs attain an intensity and strangeness that is new to a medium otherwise all too familiar and ubiquitous. Against an inexhaustible and ceaseless glut of common images, Fraser continues to make new pictures from the world: beautiful, surprising, strange, distinctive, wondrous and intelligent. His vision is both liberating and affirmative, allowing us, like Tolstoy’s Bezukhov, to escape the “limited, the petty, the humdrum, the meaningless.”’