New book by photographer Becky Tyrrell, designed and published by TONER as part of her TIN PEST exhibition.
36 page book Hand bound with green twine, and added Piskie
Edition of 50
TIN PEST is a new body of work from award-winning photographer Becky Tyrrell.
A playful deviation from her BJP-winning portrait photography, Becky explores what it means to be a resident in Cornwall with all it produces and stands for—from ancient history and neolithic stone structures, its contribution to the Bronze Age through tin and mining, to more modern affiliations and afflictions including holiday lets, second homes, and Instagrammable tourism.
A new way of working with her hands and using narrative saw Becky create a series of temporary living sculptures which were photographed then destroyed. Each sculpture brings together carefully selected combinations of gifted and found objects, including stone and tin from Geevor Tin Mine, vegetables, flowers and fruit given to Becky from friends and family, and references to sellable Cornish relics and lifestyle choices, which she describes as “the performative fetishisation of rural life.”
“There are times when firewood feels so much more valuable than money. As a seasoned holiday cottage cleaner, I ponder the different ways to see a lockbox—as long as you’ve got the code, two very different experiences await you.”
Threaded through the work is Becky’s own personal story and history, as well as a deep connection to nature and her environment. She describes moving through the dark retreat of winter to observing nature’s “look at me, pick me!” abundance in the summer months. Becky brings together her obsessions with a curiosity for anecdote, freedom, and all the idiosyncrasies of living along the west Penwith peninsula.
New book by photographer Becky Tyrrell, designed and published by TONER as part of her TIN PEST exhibition.
36 page book Hand bound with green twine, and added Piskie
Edition of 50
TIN PEST is a new body of work from award-winning photographer Becky Tyrrell.
A playful deviation from her BJP-winning portrait photography, Becky explores what it means to be a resident in Cornwall with all it produces and stands for—from ancient history and neolithic stone structures, its contribution to the Bronze Age through tin and mining, to more modern affiliations and afflictions including holiday lets, second homes, and Instagrammable tourism.
A new way of working with her hands and using narrative saw Becky create a series of temporary living sculptures which were photographed then destroyed. Each sculpture brings together carefully selected combinations of gifted and found objects, including stone and tin from Geevor Tin Mine, vegetables, flowers and fruit given to Becky from friends and family, and references to sellable Cornish relics and lifestyle choices, which she describes as “the performative fetishisation of rural life.”
“There are times when firewood feels so much more valuable than money. As a seasoned holiday cottage cleaner, I ponder the different ways to see a lockbox—as long as you’ve got the code, two very different experiences await you.”
Threaded through the work is Becky’s own personal story and history, as well as a deep connection to nature and her environment. She describes moving through the dark retreat of winter to observing nature’s “look at me, pick me!” abundance in the summer months. Becky brings together her obsessions with a curiosity for anecdote, freedom, and all the idiosyncrasies of living along the west Penwith peninsula.
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