In October, 2018, I was selected by Leica as the ambassador for the minimalist M10-D camera. I started shooting with Leica M cameras in 1998, first with an analogue M6 and then switching to a digital M9 in 2009 so that I could transmit images quickly. Although going digital was convenient for my workflow, I soon missed the simple… read more.
To mark the 100th anniversary of the end of WWI, the Smithsonian Magazine published my photographs of the Western Front in the October issue with an comprehensive article written by William Vollmann. A selection of my images can be seen below. The colour photos were taken with a Leica M, and the black and white photos were taken with a large-format… read more.
Blue Sky Days gallery exhibition 13 October to 1 December 2018.
A large selection of 150 x 100 cm gelatin silver prints from the Blue Sky Days series will be shown in tandem with images from Sebastian Van Malleghem’s Nordic Noir project in the beautiful new location of Albus Lux.
Albus Lux Contemporary
Plantagebaan 232, 4725 AG
About Blue Sky Days
Starting in 2013, I traveled across America to aerially photograph the kind of gatherings that have become habitual targets for drone strikes abroad — including weddings, funerals, and groups of people praying or exercising. I also flew my camera over settings where government surveillance drones have been used domestically.
In October 2012, a drone strike in northeast Pakistan killed a 67-year-old woman picking okra outside her home. At a U.S. Congressional hearing held in Washington in October 2013, the woman’s 13-year-old grandson, Zubair Rehman, spoke to a group of lawmakers. “I no longer love blue skies,” said Rehman, who was injured by shrapnel in the attack. “In fact, I now prefer gray skies. The drones do not fly when the skies are gray.”
The images captured from the drone’s perspective engage with the changing nature of surveillance, personal privacy, and war.
The production of Blue Sky Days was supported with grants from the Pulitzer Center, and was first published by Harper’s magazine as a 16-page spread, the largest photo essay in the magazine’s 166-year history.
Artsy, the premier online platform for art collectors, features my Divided video installation and Implied Lines drone prints of the Mexico-U.S. border in an article titled 10 Photographers Who Have Told the Story of the U.S.–Mexico Border by Jacqui Palumbo. Leading with my Divided video, the article also explores the works of established artists Richard Misrach, Dorothea Lange and Alex Webb. An… read more.
Zachary Small, staff writer at Hyperallergic reviewed my Lines and Lineage exhibition, part of the Focal Points show at Photoville 2018 that includes work by the other 2017 CatchLight Fellows, Sarah Blesener and Brian L. Frank. The exhibition was curated by Sam Barzilay and Jenny Jacklin Stratton. The full review can be read on Hyperallergic and is copied below. … read more.
Brooklyn Bridge Plaza
Brooklyn, New York City
I will also take part in a CatchLight panel discussion about photography and social impact on Saturday, Sept. 15, 2018 at 3:00pm.
60 Water Street
Brooklyn, New York City
Although borders can play a consequential role in our lives and with our sense of identity, these lines between countries are impermanent, artificial and often absurd. Seen through the prism of contemporary politics, national borders can take on dramatic and distorted meanings. From 2017 to 2018, I created a series of lens-based works about the Mexico-U.S. border that reframe our perceptions using line, memory, and perspective.
Divided, 2018, is a single-channel video installation that focuses on the timeless repetition of lines of waves from the Pacific Ocean. The border between Baja and upper California dates to 1848, when the United States military seized the northern half of Mexico. Over the years, the border was reinforced from an imaginary line to a fence to a steel barrier that juts into the water.
Lines of waves have crossed the Pacific Ocean since time immemorial. Now, this barrier splits them just before reaching the shore.
About Lines and Lineage
We often forget that the boundary between Mexico and the United States was not always where it is today. It used to be 1100 kilometers farther north, following what is now the state line between Oregon and California and running east to Wyoming before zagging southeast to Louisiana. Originally home to the indigenous peoples of the region, much of this land was Spanish and then Mexican territory for centuries before becoming what we now think of as the American West.
Spanish colonists and missionaries settled here beginning in 1598. In 1821, Mexico won independence from Spain, and by the middle of the century, it was in some ways far more advanced than its neighbor to the northeast. It abolished slavery shortly after independence; black Mexicans soon gained prominent positions, including the governorship of California. Indigenous people were given the right to vote. All this came to an end in 1848, when the United States attacked Mexico, seized half its land, and created the border that we know today.
At the time, the war on Mexico was emphatically opposed by prominent Americans, including Abraham Lincoln and John Quincy Adams. Henry David Thoreau penned his groundbreaking essay on Civil Disobedience after his arrest for nonpayment of taxes, an act of defiance of what he called an “unjust” war that aimed to “expand the slave territory.”
Mexican administration was cut short before photographic technology, revealed in Paris in 1839, arrived in the region. The well-known visual record of the American West—dominated by photos of cowboys and white settlers, the Gold Rush and the arrival of the railroads—was created after 1848. Images from the Mexican era, on the other hand, were never fixed in our memory. Using glass plates and a nineteenth-century camera to photograph landscapes along the original border and create portraits of descendants of early inhabitants, this project imagines what that history might look like. It questions the role that photographs—both present and missing—have played in shaping the identity of the West.
The CatchLight Fellowship is in partnership with the Pulitzer Center.
The exhibition showcases iconic work by more than 30 Belgian photographers, also including Carl De Keyzer, Bieke Depoorter, Stephan Vanfleteren, Katrien De Blauwer, and Sébastien Van Malleghem. The show is curated by Kaat Celis.
About Blue Sky Days
In October 2012, a drone strike in northeast Pakistan killed a 67-year-old woman picking okra outside her house. At a briefing held in 2013 in Washington, DC, the woman’s 13-year-old grandson, Zubair Rehman, spoke to a group of five lawmakers. “I no longer love blue skies,” said Rehman, who was injured by shrapnel in the attack. “In fact, I now prefer grey skies. The drones do not fly when the skies are grey.”
With my camera attached to a small drone, I traveled across America to photograph the very sorts of gatherings that have become habitual targets for foreign air strikes—weddings, funerals and groups of people praying or exercising. I also flew my camera over settings in which drones are used to less lethal effect, such as prisons, oil fields, and the US-Mexico border. The images captured from the drone’s perspective engage with the changing nature of surveillance, personal privacy and war.
On May 1st, 2018, I gave a 30-minute artist talk about Lines and Lineage at The New School in New York as part of the Magnum Foundation‘s Photography Expanded Symposium. The symposiums’s theme was counter-histories. During the my presentation, I explained how the existing visual record of the American West helped create the Western mythology of Anglo “pioneers” and… read more.
In its most ambitious use of drone imagery to date, TIME published my series of aerial photographs above the Mexico-U.S. border as the lead photo essay of it’s special report on the Drone Age. The new photos update my Blue Sky Days series, visualising the U.S. government’s use of drones in the time of Trump. Below is the original, unedited introduction… read more.