Bridging Realities: Chan Chao’s Portraits of ‘Two Places on Earth’
Welcome to this edition of [book spotlight]. Today, we uncover the layers of 'Two Places on Earth,' by Chan Chao (published by Nazraeli Press). We'd love to read your comments below about these insights and ideas behind the artist's work.
Have you ever wondered what life looks like for people living completely different realities from your own? Chan Chao’s latest photography book, “Two Places on Earth,” (Nazraeli Press, Amazon) provides a captivating glimpse into the lives of two disparate groups: UN peacekeepers in Cyprus and female prisoners in Peru. Over five years, beginning in the early 2000s, Chao captured 54 color photographs that bridge the gap between these groups, revealing their shared humanity despite vastly different circumstances.
Chao’s work is renowned for its respectful and dignified portrayal of his subjects. In “Two Places on Earth,” he masterfully juxtaposes the lives of multinational soldiers guarding a 111-mile buffer zone in Cyprus and women from around the world serving sentences in Peru’s Santa Monica Women’s Prison. The resulting portraits go beyond mere documentation, inviting viewers to connect with individuals shaped by global forces and personal choices, highlighting our interconnected world.
Conceptual Origins: What inspired you to bring together such seemingly disparate groups—UN peacekeepers in Cyprus and female prisoners in Peru—in your project “Two Places on Earth”?
“Two Places on Earth” is a portrait series of global citizens, meant to show how beautiful the concept of a connected world can be. My first major project on Burmese freedom fighters was the inspiration for the idea of a project. What I learned from that experience was that the world is connected in more ways than I had imagined. The freedom fighters were in communication with like-minded groups from around the world, in order to learn from each other. The leadership of the group also traveled to foreign countries to lobby for their cause and raise money from the Burmese immigrant communities. I felt the connected word can be beautiful and it’s a reflection of our time.
However, the original concept was more symbolic. I planned to photograph different groups or subgroups from around the world and present them as global citizens. Toward that goal, I went to Cyprus first. Like Burma, Cyprus had an unresolved internal conflict along an ethnic line. However, unlike Burma, it had multinational UN peacekeeping forces along the 111-mile buffer zone. A few years later, a friend told me about a beauty pageant at a women's prison in Peru. Inmates from around the world, incarcerated for attempting to smuggle cocaine out of South America into North America, Europe, and Asia, participated in this pageant. I was intrigued. After photographing the women's prison, with its multinational inmates, the same concept of a connected world became literal. Two places on earth demonstrated how the world is connected, but not in a utopian sense. Both places had people whose lives were shaped by personal choices as well as global forces.
Photographic Approach: How did you approach the process of photographing these two very different populations, and what were the unique challenges you faced in each setting?
Language is somewhat of an obstacle in both places. For the most part, I had someone to translate for me and there were times It was just me and the subject. However, I feel the language barrier can be overcome since we are dealing with the visual language of photography. I can show them how to pose, point at where I want them to look, etc. Working with a 4x5 camera for the project helped in many ways. The camera itself set a serious tone for the subjects and I was able to use Polaroids for tests, which I shared with the subjects to show them what kind of photographs that I was looking for.
Lighting and location in Cyprus can be challenging at times. Some of the people I photographed were in remote locations along the 111-mile buffer zone and far from where I would stay. Timing to catch the soft morning light can be challenging.
At the prison, I was always gracious toward the inmates for their time and the trust they gave me. But I also felt the emotional guilt for my ability to leave. The guilt was particularly acute leaving the prison on days when I’ve met and photographed women with whom I connect.
Cultural Representation: Your subjects represent 15 different countries. How did you capture the essence of their diverse backgrounds while maintaining a cohesive narrative throughout your book?
Cultural Representation, particularly in the form of how people dress is something that is not important for me at all. Fortunately, I did not have to deal with it. The peacekeepers wore uniforms and inmates wore whatever they could get their hands on. In some instances, the inmates do have choices but they often opt to dress in ways that reflect current trends in fashion rather than something that defines a cultural identity.
How to capture the essence of diverse backgrounds is a great question. And I can give examples that might help understand how I dealt with that. At the women's prison, some women of Latin American origin tend to be very expressive with their body language. I would describe it as overemphasized fashion poses. If I perceived that is their true and normal self (or if the pose looks natural) I would give them the freedom to express themselves through body language and I would pay attention to the kind of eye contact that I want to achieve. But for some women, the same poses seem wrong and unfitting. In those instances, I would try to tone it down so that it looks natural and look for appropriate eye contact.
Another example is when I photographed a Dutch woman. When she first stood in front of my camera, she smiled wanting to project how she wanted to be seen. It was not a very convincing smile and I asked her if we could try taking photos without a smile. Questing my intention, she asked “Are you trying to portray me as sad and defeated” and my response was no, that I want the viewers to take you seriously. And she understood.
There were also times when I would let the subject decide how to pose. When I photographed two sisters (from the same father with two mothers of different nationalities, resulting in multinational siblings), they asked how I wanted them to pose. I said, let’s pretend we are making a family portrait and you decide how to pose. It was then that the younger sister embraced the older sister. I knew right away that it was going to work.
Human Connection: Both groups in your book have lives shaped by global forces and personal choices. How did you seek to portray their individuality and humanity beyond their circumstances?
I think the previous question and answer might have partially addressed how individuality is portrayed. To me, humanity is a collection of individuals that people can relate to and empathize with. I think their circumstances should be acknowledged (it is who they are), but to dwell on them would make them unrelatable. They become prisoners and soldiers instead of individuals.
Artistic Intent: You mentioned wanting to blur lines that define cultural differences and emphasize the subjects’ dignity. Can you elaborate on how this intent influenced your photographic style and composition?
I want to blur the differences because I want to avoid categorizing people into groups and tribes.
I am drawn to my subjects for their life experiences and the emotional weight that comes with them. This allows me to make portraits of restraint and quiet beauty. I value subtle expressions over those depicting imagined cliché to engage with the viewers. For me, with the theatrics of calculated body language associated with incarceration or overstated masculinity, the subjects would have become caricatures.
I am looking for individuals to confront the viewers with honesty of their experiences. What I wished to emphasize was not the drama or gritty realism, but the inherent dignity of the subjects. I feel they deserve to be portrayed with dignity and respect. It also makes them equal to the viewers, who often are the ones doing the looking and judging. But dignify subject looks back. In turn, I hope their honesty and dignity will bring the viewers to a point of self-examination, on both a human and a global level.
This approach in making portraits is both respectful to the subjects and personal to me as an artist. A light touch represents an honest voice and beauty brings a quiet tone. I’ve never been comfortable adding noise to a situation, but I do want to shed light. In some ways, this is a part of my Eastern upbringing that has influenced my aesthetic — I want my art to be quiet but present.
Personal Impact: How has working on “Two Places on Earth” over the five-year period influenced your perspective on global interconnectedness and the shared human experience?
I consider all forces, including the darker forces, that connect the globe together to be natural and a sign of progress. This shared experience gained from a connected world makes the world considerably interesting. And a connected world that is interdependent on each other has the protentional to be a more stable world.
Viewer Engagement: What do you hope viewers take away from the portraits in “Two Places on Earth,” and how do you think these images contribute to a broader understanding of global issues?
First and foremost, I want the viewers to see themselves in the portraits and recognize subtle expressions that are universal, regardless of time or location. Second, I want the viewers to realize the forces that connect the world have a darker side too. And lastly, to understand that global forces can influence people on the individual level as well as a larger collective level.
Future Projects: Following the completion of this extensive project, what themes or subjects are you interested in exploring next in your photographic work?
I am interested in the idea of a global workforce, but I am still considering how to go about it.
To discover more about this intriguing body of work and how you can acquire your own copy, you can find and purchase the book here. (Nazraeli Press, Amazon)
Key Takeaways from Chan Chao’s Work
Respect and Dignity in Portraiture: Chao’s work is characterized by a profound respect for his subjects. This approach not only honors the subject but also creates more compelling and empathetic images.
Connecting Diverse Worlds: The ability to juxtapose seemingly unrelated groups—such as UN peacekeepers and female prisoners—highlights the importance of finding common threads in diverse subjects.
Emphasis on Subtle Expressions: Chao values subtle expressions over dramatic poses, capturing the quiet beauty and emotional depth of his subjects.
Technical Mastery and Adaptability: Working with a 4x5 camera, Chao demonstrates the importance of technical proficiency and adaptability to different environments.
Ethical Considerations and Empathy: Chao’s work reflects a deep empathy for his subjects, acknowledging their circumstances while emphasizing their individuality. This approach not only produces more authentic images but also fosters a respectful and responsible photographic practice.
Chan Chao
Chan Chao was born in 1966 in Kalemyo, Burma (now Myanmar) and moved to the United States with his family in 1978. He studied at the University of Maryland, College Park, and currently resides in the Washington, D.C. area. Chao’s photography is featured in prestigious collections, including the National Gallery of Art and the Hirshhorn Museum and Sculpture Garden in Washington, DC; the LA County Museum of Art; the Whitney Museum of American Art in New York; and the San Francisco Museum of Modern Art. “Two Places on Earth” is his fourth book, showcasing his talent for capturing profound human experiences through the lens of his camera.
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