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Colazione sull’Erba is a subtle, geometric poem on the relationship between man and nature. It is a matter of reciprocal influences, relationships, symbioses and battles. Here man appears as a product of nature, upon which his very survival depends, while nature is symmetrically a product of man, who shapes it in his own image and likeness. The woman in Annihilation, immobilized (as in a photograph) by roots and transformed into an Arcimboldoesque figure, corresponds to the dozens of compositions of flowers and plants amassed by Ghirri in his series. Whether they are eccentrically pruned and meticulously aligned trees, gardens, flowerbeds or windowsills adorned with potted plants, these genuine botanical installations represent the reflection of their creator or owner. They are portraits that express the personality, tastes and fears of those who designed them.
One of the most obvious distinguishing features of this career narrative is Winship’s consistent preference for working in black and white. On one level this has simply been a matter of taste; a link back, perhaps, to the ‘restrained beauty’ of that near-monochrome Humber landscape. But it has not been a purely aesthetic choice. By using black and white she has been able to consciously abstract reality, ensuring her photography’s detachment from the random atmospheric distractions that colour can bring to the rendering of time and place, and so allowing for a more fluid exchange between past and present.