Matt Mahurin’s self-titled monograph was published by Twin Palms Publishers in April 1999. It is a 96-page hardcover measuring 9 x 10 inches and contains 45 gravure plates. The book appeared after Mahurin had spent several years working in digital imagery and had written and directed a feature film, after which he returned to the simplicity of the camera and darkroom. The photographs reflect the mood and vision of his first monograph, published in 1988 by TwelveTrees Press, and include work made in America, France, Nicaragua, Ireland and Mexico.

The publisher describes Mahurin’s vision as straddling two worlds: daytime glimpses out of the corner of the mind’s eye, and night visions we might spy with our eyes closed. The sequence turns on gesture and timing. Ordinary moments are captured in mid-gesture and are infused with an unexpected ritualism, so that a passing scene takes on the weight of something repeated. The publisher’s phrase for this effect is a frozen prayer to the perpetual rhythm of everyday life; the images treat the mundane as though it were devotional rather than reportorial.

Mahurin is credited as the photographer. The book carries 45 gravure plates across 96 pages, and both the publisher and the distributor, D.A.P., give the same page count where an aggregator listing differs. The publisher’s catalogue records the ISBN as 978-0-944092-60-6. Publication is dated April 1999 by the publisher and 4/1/1999 by the distributor.

The volume gathers photographs made in five countries over a period of years and returns to the concerns of the 1988 first monograph. Its interest lies in the sequencing of the plates and in Mahurin’s choice of the still camera and darkroom after his work in digital imagery and film. The catalogue does not discuss the book’s critical reception, its print run or its current market standing, and no such claims are made here.