Tomorrow there will be Apricots
17 images Created 13 Sep 2015
Tomorrow There Will Be Apricots
Five years in the lives of Syrian women in Jordan (2012-2017)
This project is born out of the current terrible moment, when even greater blackness has enveloped the country. As a photojournalist, I was often assigned to cover the spillover into Jordan of Syria’s disaster. But after each story was finished and filed, I still had endless material that was outside the scope of those assignments but needed to be shared and at the same time, needed a different kind of canvas to be more fully explored. After all, much of what defined these Syrians’ lives were the absences – of both people and places. But how do you photograph what isn’t there? To overcome such challenges, I worked collaboratively with the people I photographed to create these performed portraits.
This project is, therefore many things: study, investigation, documentary, reenactment, archive, rumination, and even séance, for those desperate to resurrect the dead or confront the past and its ghosts. Currently on view at the Bayeux Museum in France and then traveling to the Australian Centre for Photography, the project is an interactive webdoc. Viewed on pads, including installation, prints, and conceptual looping videos.
An emotive and investigative narration divided into three distinct chapters of the Syrian civil war. This project is, therefore many things: study, investigation, documentary, reenactment, archive, rumination, and even séance, for those desperate to resurrect the dead or confront the past and its ghosts. Please contact to view interactive website.
*All names have been changed to pseudonyms at the request of the interviewees’ for their protection.
CHAPTER ONE
MARTYRS’ WIVES BUILDINGS
(2012-2014)
CHAPTER TWO
SYRIA VIA WHATSAPP
(2014-2016)
CHAPTER THREE
THIS IS HOW I DANCED,
THIS IS HOW I CRY
(2017)
TESTIMONIES
Five years in the lives of Syrian women in Jordan (2012-2017)
This project is born out of the current terrible moment, when even greater blackness has enveloped the country. As a photojournalist, I was often assigned to cover the spillover into Jordan of Syria’s disaster. But after each story was finished and filed, I still had endless material that was outside the scope of those assignments but needed to be shared and at the same time, needed a different kind of canvas to be more fully explored. After all, much of what defined these Syrians’ lives were the absences – of both people and places. But how do you photograph what isn’t there? To overcome such challenges, I worked collaboratively with the people I photographed to create these performed portraits.
This project is, therefore many things: study, investigation, documentary, reenactment, archive, rumination, and even séance, for those desperate to resurrect the dead or confront the past and its ghosts. Currently on view at the Bayeux Museum in France and then traveling to the Australian Centre for Photography, the project is an interactive webdoc. Viewed on pads, including installation, prints, and conceptual looping videos.
An emotive and investigative narration divided into three distinct chapters of the Syrian civil war. This project is, therefore many things: study, investigation, documentary, reenactment, archive, rumination, and even séance, for those desperate to resurrect the dead or confront the past and its ghosts. Please contact to view interactive website.
*All names have been changed to pseudonyms at the request of the interviewees’ for their protection.
CHAPTER ONE
MARTYRS’ WIVES BUILDINGS
(2012-2014)
CHAPTER TWO
SYRIA VIA WHATSAPP
(2014-2016)
CHAPTER THREE
THIS IS HOW I DANCED,
THIS IS HOW I CRY
(2017)
TESTIMONIES
