NO MAN’S LAND, 1990
Photographies montées sur bois, terre, dimensions variables.
Collection Musée des beaux-arts du Canada
The title origin is from World War 1, a term used to describe the space between life and death, the dreaded exposure marked by the rubble and body-strewn expanse between the trenches of the opposing armies. In this work the trench is an imagery furrow, which places the viewer on one side of a mound of fertile earth, squinting in the dim light at images of Third World agricultural workers toiling on the other side. We too must bend, mimicking their hunched forms, in order to discern a photographic chain of human labour.
We look, they work. They have become objects of contemplation, we consume them. A simple line of soil marks the distance between two worlds, and within the context of the art gallery becomes an intrusion of the real upon the represented.
– Jessica Bradley, Working Truths/Powerful Fictions, Mackensie Art Gallery, Canada