Aftermath, Behind the scenes, Forensic Photography, Photojournalism, Stories

21

Potocari War Graves, Srebrenica, March 2019

5 minute read.

Having been surrounded by death in my working life, I found myself habitually immune to the historic tragedy of the Srebrenica Genocide. I was about to embark on a memorial walk with thousands of others, towards the place where this tragedy happened, but realised that all those years had made me emotionally detached, immune to the feelings that loss and tragedy had on the ‘other’.

It was a strange experience, then, to be so far removed from this place of trauma – sat one rainy winter evening, scratching away at the surface of a print – to find a deep sense of sorrow welling up from somewhere unfamiliar. I was using scissors and a scalpel working methodically over each identifiable face, re-creating the image I’d seen in a hotel stairwell in Srebrenica itself.

Day 1, Mars Mira, Bosnia Herzegovina 2019, (defaced Dec 2019)

The woman was disfigured for reasons unknown, by a sharp implement. Present yet partially erased, like a distorted memory. Now I was thinking about these individuals in the context of victimhood, and placed myself in the skin of the protagonist, in control of their image if not their lives. By obfuscating reality, I was somehow re-energising that sense of loss felt by so many of those who had taken part, and started to feel the effects of that onerous process.

I re-photographed the prints as objectively as possible: square on, copy lighting at 45 degrees, just like the many documents I’d photographed for court purposes, but which were almost always equally suited to a humble photocopy. A few months went by before I looked at what I had again. I felt I needed the images of some of the deceased to make this personal and specific. The web is a wonderful tool for preserving memories, and a search quickly found a site devoted specifically to the systematic cataloguing of victims together with their names and dates of birth.

Zijad Ahmetovic 02.10.74

Here, perhaps, was a way to connect past and present – with portraits that were badly reproduced, poorly lit or in some way deficient. Their lack of detail seemed to be an error of quantity as well as quality. Undeniably, if they’d lived longer, these blurry images would have morphed into pixels with more detail. There would have been no shortage of choice had this atrocity happened in the Facebook age.

At the heart of this is an emotional response to the degraded quality of these family snapshots together with the violence of the event and my appropriation of violence in realising this project. The 12 victims were born in the same year as me, 1974, and meant that they all died when they were 21 – a significant and symbolic year in anyone’s life.

From the top of the Stari Most, Mostar, July 2019

To be clear, this to be about me. My intention in this post is to add a context to my interest in the subject. My goal is to throw a little more light on a region so close to home but so vulnerable to extremist ideology and still harbouring significant sections of society in denial about this murky chapter in its not too distant past.

A copy of the work in book form can be seen here:

https://www.blurb.co.uk/books/10176238-21

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