Importantly for me I worked intuitively, trying not to be influenced by what I already knew about the country, I wanted to respond to what I found and felt and seek out the iconography that allowed me to frame views that make the images unique to me.
After several trips to different parts of the river, it became clear that what I personally was responding to and how I felt whilst being in China was permeating my pictures; a formalness and unease, a country that feels both at the beginning of a new era and at odds with itself. China is a nation that appears to be severing its roots by destroying its past in the wake of the sheer force of its moving forward at such an astounding and unnatural pace. I felt a complete outsider and explained this pictorially by “stepping back” and showing humans as small in their surroundings. Common man has little say in China’s progression and this smallness of the individual is alluded to in the work.I feel that there are strong parallels in China with the 20th Century immigrants who poured off the boats onto American soil, a new beginning without roots. I chose to work in China because I wanted to try to discover how a country with such a turbulent recent history can conduct itself and play such a major role on a global scale, as it obviously will do. Although it was never my intention to make documentary pictures, the sociological context of this project is very important and ever present. The displacement of 3 million people in a 600 km stretch of the River and the effect on humans when a country moves towards the future at pace are themes that will inevitably be present within the work>
A Chinese friend I made whilst working on the project reiterated what many Chinese people feel: “Why do we have to destroy to develop?” he explained that in Britain many of us can revisit where we were brought up and it will be much the same, it will remind us of our families and upbringing. In China that is virtually impossible, the scale of development has left most places unrecognisable, “Nothing is the same. We can’t revisit where we came from because it no longer exists.”China is progressing rapidly, and to this end I feel there is a mirroring of the bad habits of “the West”. The landscape both economically and physically is changing daily. These are photographs that can never be taken again.
— Nadav Kander
Lens Culture recorded and produced the following video interview with Nadav Kander about his Yangtze project in Lens Culture's Paris studios: