To witness is at the center of my experience, an engagement as a photographer, the documentary impulse is an act of faith; it can be an affirmation of protest without any assurance of what impact an image will have. If one was not a witness oneself can an image bridge the gap to connect a viewer with the violence inflicted on that body?
This was my first encounter with a violent act.
I wasn’t looking for dead bodies, when I found one. It was the smell and the circling vultures that led me to stop. I was afraid that I could be seen recording it. It’s where you put your own body that speaks. The photograph was taken at a particular moment in time – July 1978, just before the popular insurrection erupted in Nicaragua.
25 years later I returned to reframe that image along with others I had made as an act of repatriation. How were the event in those photographs remembered by those who lived the history, who were the protagonists of history?
Pictures are always made within a specific photographic and political discourse to reinsert this body in the landscape was to create a dialogue with the community to look at, and look again, not away, from what has nearly been erased by time, to reexamine and capture the reflections on what that body represented.
For me as witness I still chose to look at and register acts of violence to continue to ask where does the responsibility of representation begin and end.