It started as an experiment with veils. In mystical poetry, love and truth cause a hundred veils a moment to fall, and I became excited about all sorts of veils, from lenses to fibers, and about playing with them as a photographer. This work was done on nylon mesh. I had observed the openings for shadow and light through the mesh, set up my camera on a tripod, got my flashlights, shut off the light and began shooting.
Working with nylon mesh, as the veils rose, the view was like being on the edge of a pit swinging down on a beam of light. Warlike figures are silhouetted against the background of the shadowy detritus of society. Each frame is borderless, as in a dream, and just a small piece of a bigger happening. From where I stand, there is a tension of the watcher who feels helpless and, thus, imprisoned.
I always had considered myself strongly pro-peace, so I wondered why my aesthetic work had as yet failed to reflect the devastation that war brings, and the impact of war on the soldiers’ families. While I was putting an army together in these photographs, my brain was engaged in the war games being depicted, yet I felt the imperative of peace as never before.
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