Sibylle Eimermacher’s A Guide Through Hue begins with stones that do not belong where they lie. Granite and porphyry scattered across the sandy Dutch lowlands are glacial erratics, carried south during the ice ages from bedrock in Dalarna, Sweden, and the Åland archipelago in Finland. Their presence points north, and Eimermacher follows — to landscapes where rock lies bare and mineral colour is exposed in open veins of red, pale pink, purple and brown.

The book is a work of close looking rather than geology in any strict sense. Its sequence moves from Scandinavian outcrops, through weathered and bleached stone, to fragments dispersed and absorbed into Dutch surroundings, gathering grey and pale metamorphic rock along the way. The photographs attend to the slow drama of hue and surface: what pigment does to a landscape when the eye has been attuned to it, and how even a pebble can hold the memory of a distant place. Across 400 pages, the rhythms of weathering, migration and dispersal give the sequence its structure.

The geological facts here carry a wider reflection: these stones cross national borders and the boundaries drawn between nature and culture, since the very same material is picked up, isolated and put to use. To read the series this way is to encounter a tension between longing and displacement on one side, and on the other an acceptance of change as the condition everything shares.

Eriskay Connection published the volume in 2022 in an Otastar softcover format, designed and lithographed by Rob van Hoesel. Essays by Sybrandt van Keulen and Harry Huisman accompany the photographs, and Eimermacher is credited as sole photographer. For collectors drawn to photo-sequences in which colour itself becomes the organising subject, the book offers a sustained, carefully made argument on paper.