After years of relative silence since the release of Inland Empire, David Lynch has been in the spotlight for the better part of the last three years. Twin Peaks: The Return set things in motion. For the first time since the early 90s, Lynch was on the minds of the mainstream masses, not just his usual rabid cult fan base. For those of us always wishing more focus would be put on Lynch’s many artistic endeavors outside of film, this has been a dream come true. All things Twin Peaks are back in commercial production, Blue Velvet finally received its Criterion Collection debut, the long lost Thought Gang (Lynch and Badalamenti) album was released.
In the realm of books, we’ve also been fortunate. Nudes, reviewed by us, was released in late 2017. A 240 page art book packed with nude photography of women taken by David Lynch. That was followed by the semi-autobiography Room To Dream, also reviewed here. Now, 2019 is starting off with another huge art book featuring the works of David Lynch.
Someone Is In My House is the companion book to the currently running exhibition of the same name in the Bonnefantenmuseum in Maastricht, Netherlands. The exhibition will be running through 28 April 2019! Someone Is In My House showcases a multi-media selection of works, spanning the last fifty years. There is everything from pencil and pen sketches on torn out sheets of paper and collections of matchbook sketches to photography from ventures which would lead to the books and exhibitions of The Factory Photographs and Nudes.
Someone Is In My House will be indispensable to the avid Lynch collector, but this book truly shines as an introduction to Lynch’s various art forms. Whereas books like the aforementioned The Factory Photographs and Nudes are straightforward art books, filled front to back with full-page photography, Someone Is In My House has a good bit more text, along with the large and beautiful images! We are given much more context for many of the included pieces. The various writers give us a bit of Lynch’s history to go with the images, as well as a number of examples from famous artists in history as comparison/contrast. Those familiar with Lynch’s history will find a handful of interesting details to be gathered, but these chapters/articles will prove highly useful to the reader that is only familiar with Lynch through film/television.
But there is plenty to attract the die-hards. The vast section “Works on Paper” is worth the price itself. Page after page of sketches, doodles, and an impressive number of lithographs give us one of the deepest views into Lynch’s subconscious yet. The matchbook collection, which I’ve heard about many times before, is presented here as well. Particularly as I gazed at these matchbooks for extended periods of time, I realized I’d be happier at my desk with this book and a cup of coffee than I would be seeing the matchbooks in person. Each stroke of Lynch’s ball-point pen seems to lead off into another universe yet to be uncovered.
Paintings/Mixed Media is the other largest section of the book. This section would also be worth the money on its own. We are finally able to sit and gaze upon so many of these strange works that have been mentioned, or shown in passing in a documentary. Incredible pieces like “Bob’s Second Dream” are shown in full, but also have a close-up where you can study the writing and textures. Extracting meaning from the letters/words oddly strewn throughout many of these images can be an exercise in itself. Some of these works, which I’ve not enjoyed as much as others in the past, have given me the opportunity to gaze upon them in context, among other connected works, and a new appreciation for them has been sparked.
The photography section is quite small, which isn’t surprising as Lynch’s photography has been presented to the public in books more than his paintings. But it still manages to feature some wonderful highlights, like the notorious “Chicken Kit” and “Fish Kit”. The “Chicken Kit” in particular shares disturbingly equal portions of humor and horror. There are also selections from the Factory and Nude photo collections, to give readers a taste of what they can expect in those books (the selections in this book appear to be exclusive, not re-used from those other books).
The book is rounded out with a biography, further reading, selected exhibitions and selected filmography sections to help lead new Lynch fans off to discover more about this auteur.
At roughly 10″x12″ and over 300 pages, Prestel has crafted a physical manifestation of Someone Is In My House worthy of its artistic content. The sturdy hardcover edition has thick pages and the images don’t present too terribly much glare when reading under lamp light. I would highly recommend this to the avid Lynch fan who already has a few of the other art books, or to the newcomer to Lynch’s art-life outside his film-directing career.
Written by: Michael Barnett