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September 28, 2009

 
Home from Guantanamo: Photo-essay by Edmund Clark
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Camp 5 Detainee © Edmund Clark


“When you are suspended by a rope you can recover, but every time I see a rope I remember. If the light goes out unexpectedly, I am back in my cell.”

— Binyam Mohamed, Prisoner #1458


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Camp 6 Mobile Force Feeding Chair © Edmund Clark


Photographer Edmund Clark has made a series of photographs that examine various aspects of the prison camps at Guantanamo Bay. He explores the facilities for the prisoners, and for the Americans who live there at the naval base. Then he visits and photographs at the homes of some of the detainees who have been freed. Clark’s text illuminates his ideas about the lives of the people involved — detainees, their families, American guards and their families, and life after prison and torture.

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Naval Base Fellowship Room © Edmund Clark


This is a book-length project, and we're very happy to present an excerpt here in Lens Culture. The photos that you see here are edited and sequenced in a way that is different from the presentation Clark intends for the book.

Clark originally wanted to eliminate the captions to the photos, reducing them merely to one of three consistent captions: base, camp, home. I argued that the information in many of the captions helped me understand exactly what I was looking at, and provided context that seemed essential. After some back-and-forth emails, we agreed to keep the captions here.

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Former Detainee’s iPhone at his Home with Image of his Solitary Cofinement Cell © Edmund Clark


I encourage you to look at these photos and text, and to discover more from this project on his website.

In addition to sharing this important work with you, we’re interested to know what you think about the necessity of captions with photographs like this. Please add your comments to this blog!

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Plant at Home of Former Detainee © Edmund Clark


1 Comments

Great to see this work here! Ed is a friend and I've seen this project evolving. His approach is sensitive and intelligent and this shines through in the pictures. I would agree that captions in this instance are necessary as it is a mere snippet of a view as compared to the whole body of work (ongoing). I recently read his explanatory essay and consequently admire how he is presenting the three views of 'Home' as a disorientating narrative which somehow reflects the realities of those who are 'confined'. He is trying to make us think and look a bit harder by blurring the geographical boundaries and it is going to be a seminal work.

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