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First created as a response to the main one dimensional and sensationalist revealing by the US media, the task looks at the long term effects of the particular climate crisis on the life of individuals
The start of the Biden presidency has been viewed by many as the begin of a new era of climate policy in the US – one that hopes to unnecessary the significant damage caused by Trump during his four-year tenure in the White Home. But , regardless of how earnestly the federal government addresses this issue, one thing seems unlikely to change: the way it is portrayed by its mass media. Despite engaging with a subject as pervasive and impactful as climate change, the coverage of climate disasters in the US media is often sensationalist and ephemeral. No quicker have networks picked up a tale and run it than it has been archived and ignored, shrinking into the distance because the next climate disaster rushes in to dominate the head lines.
Photographer Bryan Anselm’s continuing project Between the Wood and Tide was initiated in direct response to this fleeting and often unsatisfactory coverage. Right after photographing the disasters because they unfold on assignment meant for various publications, he then comes back to the affected areas months or even years later in order to capture the troubles that will continue to plague nearby local communities. In his photographs we experience the slow recovery associated with affected residents who remain in temporary accommodation for months following a destruction of their homes. “Even when revisiting regions 6 months after a disaster you’ll see people still living with no power or drinkable drinking water, ” explains Anselm. “Others live in FEMA trailers close to the rubble of their home or in government given hotels for years. ”
Up to now, Between the Wood and Wave encompasses images of the aftermath of six hurricanes plus countless floods that have wreaked havoc across the US. The project recognises the unlimited struggle faced by inhabitants who remain in a liminal existence between ruin and recovery long after the dust particles has settled. Their stories are replaced by anyone who has since been affected by the most recent disaster, and the cycle continues. By photographing the long-term effects of climate change for most different communities, Anselm also hopes to create a body of work that can engage with the macro through the micro. He hopes to capture an even more general, “country-wide malaise” associated with the subject, and creating an area to pose questions round the US’ future: “Can someone adapt to live in a home that floods every single year? Can we relocate millions of people from portions of Miami, New Orleans, Houston, Charleston plus New York in the next 100 years, or even will we just get out of parts of these cities? ” are some of his lines of inquiry.
With the global temperature set to rise by at least 3. 5°C levels over the next century, getting with it an onslaught of disasters, Anselm envisions Between the Wood and Tide to be a lifelong project. It will capture the US’ developing relationship along with climate change, showing just how it attempts to deal with a problem that should have been dealt with a long time ago. Anselm, looks despairingly but realistically at the long term. He realises that their work may well become a testament to humanity’s reluctance to deal with bothersome truths: “We’ve never enjoyed to change the way that we do something until it’s absolutely necessary, when we choose to wait until requirement here, then there’s actually no reason to change whatsoever – it will be too late. ”