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"I tried to locate myself in
the work - it's my hand in both chapters. In Provence I've been
playing around with the ochre pigment from Rousillon indicating
my position as the artist, the maker of the work. In Normandy
I hold out berries to indicate my position as provider. These
refer back to Josef Koudelka's historic image of his watch as
the tanks roll into Prague - his was the event - mine is the
non-event.
The look of the images can be quite confusing and ambiguous
- there is supposed to be a deliberate withholding of resolution
and closure. I'm aiming more at transience and instability and
chaos. We don't know if the family will be happy because at
any chancy and haphazard moment their position could shift from
non-event to event, from the triviality of the holiday snap
to the historic document of the news story.
I made this work in 2001 and it is quite interesting to look
back on it and see that the the work also functions as a comment
about the global and local - the G8 anti-globalisation demonstrations
were taking place at the time. The newspapers are, of course,
fading now. That's in the nature of it."
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