She felt the commercialization of her painting work was too abrupt and wanted to explore a more collaborative and socially engaged practice. Her decision was also influenced by a desire to leave the bubble of Los Angeles and immerse herself in a more international context.
The project is a single panoramic image spanning 88 kilometers, connecting Erbil to West Mosul, where ISIS declared the caliphate. It aims to challenge the singular narrative of conflict by showing the multiple layers of life during war, avoiding the spectacle of violence.
It shifted her perspective on the role of the photographer, questioning whether they should be a fly on the wall or if their presence influences the narrative. She embraced the interaction between herself and the subjects, recognizing the importance of multiple perspectives and the photographer's gaze.
The project was inspired by a conversation with an Iraqi soldier who shared personal images from his phone, including family photos and images of conflict. This interaction highlighted the limited understanding of people's lives in conflict zones and led Alexandra to create a collaborative archive of images from Iraqis across the country.
She prioritized the trust of the participants, ensuring they were comfortable with the images being used. She also faced the challenge of deciding whether to include images that could be seen as evidence of war crimes, ultimately focusing on the participants' comfort and the broader narrative of the project.
Social media influences the project through the use of emojis, Snapchat filters, and selfies, which are part of the participants' visual language. These elements add layers of meaning, showing how people express themselves in both public and private spaces, often with dark humor or playful anonymity.
Her new project aims to document the climate crisis in a way that goes beyond the typical images of fires, floods, and droughts. She is exploring the intersection of gender-based violence and climate change, focusing on the specific impacts of climate change on daily life and communities.
The main challenge is finding a new visual language to represent the climate crisis, as many current images have become tropes and are no longer effective. She aims to ground the issue in specific, relatable impacts, such as water scarcity and its effects on health and gender dynamics.
She believes photography can question and document the broader issues behind climate change, rather than just translating specific events. As an artist, she has the freedom to explore the conceptual aspects of the crisis and its impact on daily life, creating a more nuanced understanding.
She values the editing process more, as it allows her to physically manipulate images and create something new. This process engages her painting background and allows her to explore different layers and narratives, making it a crucial part of her work.
Alexandra Rose Howland's practice is invested in illustrating the difficult complexities of our existence. Through her work, she seeks to generate a more expansive understanding of how issues around conflict and the climate crisis are portrayed. She does this by resisting the historical notion of photography as a mode of direct representation created by a single author. Instead, she embraces image-making as a social practice, co-creating stories with her participants.
Alexandra has lived in the Middle East over the last decade, creating work that aims to challenge and expand the ways that geopolitical events are communicated. Her background as an abstract painter informs her practice, resulting in multidimensional projects that use images, found objects, interviews and video. She has shown internationally with both solo and group exhibitions including Leave and Let Us Go (solo), FOAM Museum Amsterdam, *Road to Mosul *(solo), London, Textured to Only Us (solo), Los Angeles. Leave and Let Us Go was published by GOST Books in 2021.
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