Nexus Catalyst

Every project I undertake becomes more challenging than the previous one. My goal has been to photograph what is not easily photographable or even photogenic. The first project where this approach truly crystallized was China Africa. After working as a war photographer in places like Iraq and Afghanistan—subjects that are unfortunately very photogenic—I shifted toward something far less visually obvious and much harder to access. That project defined my direction, and all subsequent work, including The Heavens and Happy Pills, followed this path.

Yes, many systems today are intentionally complex and opaque by design—tax havens are a clear example. Photography is a simple and direct language, which makes it powerful when dealing with complex issues. Its importance today lies in its ability to translate complicated systems into something understandable for a broader audience. Projects like The Heavens aim to make people aware of how such systems affect their lives, even if they don't fully understand them.

Living in Haiti for four years changed my entire perspective. Instead of focusing on poverty—as is often done—I chose to examine wealth and power structures. I realized that understanding the wealthy reveals much more about a country's system. Haiti is often described as a "failed state," yet the desire for a functioning state is incredibly strong among its people. I explored how parallel systems—such as NGOs and elite families—effectively replace the state, shaping power dynamics in the country.

No, I don't believe so. The strength of photography lies in using its visual language effectively. A powerful image draws attention and creates curiosity. The goal is not to simplify reality but to engage the viewer, encouraging them to seek deeper understanding. Images and context work together—first you are drawn in visually, then you learn more through captions or explanations. This layered experience strengthens, rather than weakens, the impact.

The title itself plays on the dual meaning between "havens" (closed financial systems) and "heavens" (paradise). Since tax havens are visually invisible, we had to rely on metaphor and visual language inspired by financial institutions' own imagery—luxury, perfection, aspiration. However, when combined with context, these images create a critical perspective. Audience reactions showed that people often left the exhibition feeling angry, which indicates that the work successfully provoked reflection rather than romanticization.

This was the core challenge of the project. Often, there was literally nothing to photograph. The approach was to deeply research the system—reading extensively, speaking with experts—and then translate that understanding into visual metaphors. The goal was not direct representation, but creating layered images that communicate complex ideas indirectly.

It was a conscious aesthetic decision. The aim was to create images that look attractive and even resemble corporate or financial visuals at first glance. This draws viewers in. Then, as they engage with the context, they realize the deeper, more critical message. This contrast between beauty and meaning is central to the project's impact.