Krass Clement’s *Across the Cut* began with a short visit to Bristol in June 2016, undertaken in connection with Photobook Bristol rather than as a planned book project. The photographs centre on the Cut, an early-nineteenth-century artificial waterway created to help form the city’s floating harbour. Approximately three kilometres long, it divides Bristol; Clement worked chiefly along its traditionally less affluent south side.

The work carries the unease of its moment without becoming a political report. The photographs were made in the weeks before the United Kingdom’s referendum on continued European Union membership, a prospect that troubled Clement deeply. That uncertainty enters obliquely, through images attentive to separation, loneliness, suspension, and the sense of being left behind. The Cut functions simultaneously as a precise urban location and as a visual structure for experiences of division and powerlessness.

Clement’s immediate return to editing is crucial to the book’s character. Unlike many of his earlier projects, he began sequencing the photographs almost as soon as he arrived back in Denmark, keeping the encounter close to the form it would assume in print. Meaning develops through recurrence and interval rather than explanation: Bristol is neither a neutral backdrop nor a fixed political metaphor, but a place where local observation and psychological tension remain in productive balance.

Published by RRB Photobooks in 2019, *Across the Cut* is a 136-page hardcover first edition. For a serious collector, its distinction lies in the precision with which a brief, historically charged encounter becomes a resolved photographic sequence. Clement does not settle the work’s unease into a conclusion; he allows ambiguity to persist across the book, making its atmosphere inseparable from its structure.