In Fields of Sight, Gauri Gill collaborates with Warli painter Rajesh Vangad from Ganjad, Dahanu – an Adivasi village in coastal Maharashtra – to present her most recent body of work. The work’s visual language emerged symbiotically from Gill’s initial experiences of photographing the landscape in Ganjad, where she felt that although her camera was perhaps capturing the distinct ‘chameleon-like’ skin of what she was ‘seeing’ through her camera, it was missing vital aspects of what was not apparent to the eye of the outsider.
“Terrain is my first series of cameraless photographs. Between salt and water, two of the most primal properties of the planet earth, barely visible textures create topographic shadows which can be exposed by sparks of electronic light.”
The Album: Ginza Hacchō is compiled of photographs of all buildings on the main road in Tokyo’s Ginza district, bound together in a shape of an accordion to unfold in a sequence approximately four meters long.
Terrain is a book of portrait and landscape photographs descriptive of the materiality of labour on a variety of Southern and East African farms. The latest instalment in Nickerson’s long-term enquiry into farm labour, Terrain is neither an impartial nor all-encompassing document of working life in sub-Saharan Africa’s largest employment sector, even if the photographs are underpinned by Nickerson’s acute awareness of these environments as politicised spaces.
I use photography as a tool for trying to understand what is happening in the world, what life is about. Going to Central Asia was part of this ongoing exploration. I had just spent a year living in Ukraine, and while learning about the place, I was also becoming more familiar with the visual codes that had been used over and over again (by me and others) to depict this place. Continue reading Carolyn Drake→
Memory come to Rajesh, 2014
Contemporary Photography Index 