The photograph: a stopped clock on a wall. The wall is bare white, apart from trails of rusty water streaming down from the base of the clock.
The story: an armed man being chased by the police claims sanctuary in a modern church. This story is really enriched by its context, because, like the Still exhibition (albeit in a very different way!), it’s about a space being repurposed. I also love the way Blackman transforms the imagery of dirt trailing down a wall; the ending of ‘Sanctuary’ becomes as much a tableau as one of Bakker’s photographs.
This is one of a series of posts on the anthology Still. Click here to read the rest.