This series is an exploration of parallels between Soviet/Ukrainan and US nuclear weapon launch facilities, through photographic details. Comparisons of the designs and approaches expose the sides ethnologically and the minutiae are symbolic of greater political meaning. A humanized perspective and palpability reveal our complacency in addressing an ongoing, if psychological, war. These photographs are an invitation to wonder at the systems of mutual deterrent and examine the understated reality of the veneer that protects us from an apocalypse. Shot on an 8x10 inch large format camera, the details of the articles pictured expose the decades of use that they have received. The traces of the crews’ work remain as fingerprints of a history that was almost as secretive and unknown to their opposite numbers as to the rest of the world. Nuclear capabilities have grown. The Russian “Satan†SS-18 and US Minuteman III missiles now have multiple reentry vehicles (MIRVs) able to target numerous cities simultaneously and small steps taken towards disarmament have been undermined by the increase in power and accuracy of the latest generation of ICBMs. Although there is more access than before to information, interest in the global nuclear situation has dwindled and this is potentially very dangerous. 1. Blast Door I –SS-24 Scalpel facility – USSR/Ukraine 2. Blast Lock Area – Titan II Silo – USA 3. Internal Phone – Titan II Silo – USA 4. Command Phone – SS-24 Scalpel facility – USSR/Ukraine 5. Missile Combat Crew Commanders Chair - Titan II Command Post- USA 6. Command Chair - SS-24 Scalpel facility - USSR/Ukraine 7. Bunk Room - Titan II Silo – USA 8. Bunk Room - SS-24 Scalpel facility – USSR/Ukraine
My work focuses primarily on identity and heritage. Seeking a deeper understanding of history I examine objects and people in detail and use the reflection of today to glean unusual perspectives on the past. I use both still life and portrait genres for personal documentary work. This series was shot on Wista 8x10in - Kodak 160nc film. My influences include Simon Norfolk, Edmund Clarke, Charlie Crane, Roger Fenton and other large format film documentary photographers.
