“How can a storyteller or an artist – but particularly a photographer, bound to the distinctly concrete technical device of the camera – begin to tell this story?” he asks. For the latter, Mosse borrowed from science, employing multispectral imaging which can capture light from a range of wavelengths, making the invisible visible. Black-and-white stills and photographs document forests burning, swathes of smoke, wildlife under pressure, and Indigenous activists plant life is rendered in ultraviolet on the microlevel, roots and tendrils mirroring the intricacy of the biome as a whole while aerial images of charred and barren landscapes offer the macro view. The anguish is palpable, both on film and as stills.Īesthetically, Broken Spectre occupies a selection of artistic and photographic planes. It’s near impossible not to as Adneia, who lives in Yanomami Territory on the Brazilian border with Venezuela, delivers a speech to camera about her family’s experiences at the hands of illegal gold miners. “At its strongest, when my work is really working, you might feel the blood on your hands, as I do,” he says. That question points to one of his aims for the work, to give the viewer agency. You could probably say the same about each of us too, right?” Mosse says. Really fine people carrying out environmental devastation. That’s the ambiguity of what we encountered. If you show respect and interest, they will repay that with hospitality. But they are also people, and they are very often proud of what they have achieved. “These are sometimes ruthless people, often armed. The fieldwork took “years in the back of a pickup truck along extremely bumpy roads” and involved befriending climate criminals who proudly posed for portraits in front of smouldering trees or as they set light to the landscape.
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