Teresa Freitas works at the point where colour stops describing a place and begins to shape how we perceive it. In this 48-page softcover, the fourteenth title in Setanta Books’ bi-monthly series devoted to emerging photographers, colour is not incidental but the organising intelligence: a pastel range, held in balance, punctuated by isolated bursts of vivid hue. Freitas describes her approach in painterly terms, and the images bear that out, colour functioning less as information about the world than as a means of communication in its own right.

The book collects her photographs across a compact format, 21 by 16 centimetres, with a card wraparound cover, so the sequence reads at an intimate scale rather than the oversized gesture of a gallery catalogue. What is most distinctive is the argument embedded in the work. Freitas treats the photographic frame as a site where colour can be resolved toward harmony, and where the viewer’s attention is directed at visual pleasure itself, not at decoding a subject. She has spoken of the ambiguity that results when colour does not have to stand for something specific, and of the freedom that ambiguity gives her to probe the boundary between fiction and reality.

Published in 2022 in an edition of 350 copies, the volume belongs to a series with a clear editorial identity, appearing alongside titles by Luka Khabelashvili, Margaret Durow, Polly Alderton and others. For a collector interested in contemporary colour photography, and in how a small press can frame an emerging artist’s work through the discipline of a short sequence, this edition is worth attention on those terms: as a considered statement of a distinctive visual position, issued within a coherent and ongoing publishing project.