The details of the suite: 18 + 1 silver gelatin prints on baryta paper, image size 24.5 x 25 cm (9.6 x 9.8 inches, paper size 30 x40 cm, 11.8 x 15.8 inches). Edition of 25, numbered, stamped and signed on the back. We keep the lowest edition number available in the suite of prints (the second number is an individual print). The suite is stored in an archival box, with each print separated with silk paper.
- BODIES Újezd – Hájenka, Czech Republic, 2002 (Edition 4 or 5/25)
- CAMP KVẼTÁK U PAREZU Jevisovice, Czech Republic, 2004 (Edition 4 or 5/25)
- BUBLA Jevisovice, Czech Republic, 2002 (Edition 4/25)
- LIFELESS Wolfsburg, Germany, 2000 (Edition 3 or 4/25)
- ON A SCHOOL TRIP Stribský mlýn, Czech Republic, 1999 (Edition 6 0r 7/25)
- TATRA 70 Frenstát pod Radhostem, Czech Republic, 2002 (Edition 3 0r 4/25)
- MOTHER Újezd – Hájenka, Czech Republic, 1997 (Edition 4or 5/25)
- CATHERINE IN THE POND Slatina, Czech Republic, 1998 (Edition 7/25)
- GREENHOUSES IN JUNDROV Brno, Czech Republic, 2000 (Edition 3 or 4/25)
- IN THE MIDDLE Jevisovice, Czech Republic, 2003 (Edition 4 or 5/25)
- TV SHOW Doubravnik, Czech Republic, 2001 (Edition 6 or 7/25)
- LITTLE EAR Wolfsburg, Germany, 2000 (Edition 3 or 4/25)
- TEREZA Collonade Raistna, Valtice, Czech Republic, 1997 (Edition 4 or 5/25)
- MARJORIE AND MANON Sainte-Julie, Québec, 1998 (Edition 4 or 5/25)
- VILLA GRÜNFELD Teplice nad Bevou, 2005 (Edition 4 or 5/25)
- LUCY Jevisovice, Czech Republic, 2003 (Edition 7/25)
- INTERPRETER Brno, Czech Republic, 2001 (Edition 10 or 11/25)
- JOHANA /luboké, Masusky, Czech Republic, 2003 (Edition 7/25)
- SELF-PORTRAIT WITH ROLLEICORD Leipzig, 2000 (Edition 3 or 4/25)
Apart from the suite, we have a number of individual prints in our archive, all of which have early edition numbers and are highly collectible. Each print is signed, stamped and titled on the back by the artist himself. All of the photographs in the Wolf’s Honey collection were taken using an analogue twin-lens camera in accordance with the principles of the Czech Parallax group of artists, of which Slama is a founding member. The 30 x 40 cm (11.8 x 15.8 inches) silver bromide prints were enlarged by V. Slama in his darkroom in Brno using classic warm-tone paper. These prints are guaranteed to last at least a century due to the established processes used in analogue photographic art.
Read more about Slama’s concept on his website. Prints from the Wolf’s Honey body of work were exhibited in the Leica Gallery of Prague. According to the art historian Lucia L. Fiserová, Slama “can see and record only what he has been longing. He does not capture ‘the world around him.'” His photography works against traditional storytelling—rather than capturing narratives, his images stop and hide them. His compositions create visual tension by placing empty centers against objects that intrude from the edges, while perpendicular lines cut through the frame to fragment space and perspective. These complex spatial scenes alternate with centrally composed portraits that draw on classical religious imagery, enhanced by monumental symmetry. Sláma’s work reveals a deeply personal universe that exists only through his own vision. As mentioned, he doesn’t simply document the world around him but instead creates it through his photographs, defining space and meaning retrospectively. This creates an exclusive photographic realm where the primary call–or longing–is for beauty rather than documentation.
