"Agamben’s ‘bare life’ is visualized through the refugees and migrants, desperate lives in search of a better future and for us, a potential vision of a dystopia where the extreme
"Is Mosse really showing us the plight of migrant subjects, or indirectly something of his work’s own quandary, and by extension, white photography’s lack of critical engagement with race?”
"Trees, leaves, flowers are all given the Sells treatment and become abstracted metaphors of the sacred geometry still found between light and organic materials within the aforementioned natural world."
"I was especially interested in the ideas of modernisation and particularly the belief that we have developed in a linear fashion - always going to something better."
"He recalls developing his negatives by moonlight, having to make his way to the ferry on a road thick with often-time un-negotiable elephant herds. He tells of carrying his chemicals
At its surface, the need to stand, to rise, and to disembowel the state looks permeable
” Its tick-box approach to images, the title, the cover, the text within capitalize on the “rough” Ugandan nightlife and seems very much directed at a Deutsche Bourse Prize/ Magnum/
"I was completely blind by the way. My optic nerve had been bounced off. I couldn't see a goddamn thing. I had a huge hole in my leg, went right
"(Congo) is one of the very few places in the world that has not been extensively documented."
Now, it’s hard to defend yourself if you are in possession of the ‘white privilege’, as I am...
“The enemy of photography is the convention, the fixed rules of ‘how to do.’ The salvation of photography comes from the experiment”. 1947, László Moholy-Nagy Nico Krijno at Unseen 2015
Andy described him as – “one of the most fascinating men in the world …… he’s like a modern Tarzan. He jumps in and out of the snake pit he