Adrain Chesser’s The Returndepicts a loosely banded tribe of people who move between Idaho, Nevada, California, and Oregon. Traveling with the seasons, the subjects ofThe Returnuse traditional hunter-gatherer skills along with knowledge of indigenous food crops to follow an ancient way of life known as “the Hoop.”
“The subjects in The Return are predominately not indigenous Native Americans. Most carry European ancestry, and most come in one form or another from the disenfranchised margins of mainstream America,” says White Eagle. “Most are poor, some are queer, some are transgendered, some are hermits, and some are politically radical. All believe that major shifts are needed in the way modern society interacts with the natural world. And all are willing pioneers, stepping off into uncertain terrain and searching for something lost generations ago.”
“Snow is inherently nostalgic. It encourages you to travel back and think about your life. I think it’s something about the way it blankets reality, sort of erasing the present one dead pixel at a time. And that makes room for the past”
“Practically speaking, a life that is vowed to simplicity, appropriate boldness, good humor, gratitude, unstinting work and play, and lots of walking brings us close to the actual existing world and its wholeness.”
— Gary Snyder, The Practice of the Wild (via kvtes)
Read the full interview - that VICE never published - with Dayv Mattt, a street photographer currently living in Sri Lanka (and before in Seoul). As another ex-Torontonian currently living in another corner of the world (Sao Paulo in my case), I totally connect with this particular response:
I have to generalize to answer this question, but Koreans can’t understand why I would want to walk down a narrow ally in an old neighborhood to take photos. They want me walking through the newly erected areas and they want me to highlight all things shiny, sparkling and glamorous. I don’t actually think I am taking pictures of an “ugly side”. I do walk through shiny areas, but to get from one shiny area to the next, I inevitably walk through an older area that hasn’t gone through gentrification, or is in the process of gentrification. They don’t want me in those areas because development is often messy business and a lot of people don’t want those issues coming to light. Generally speaking, Koreans think my photos make Korea look dirty, poor, and depressing. Their impression of my photos is the complete opposite of what people outside Korea think my photos are showing them of Seoul.
But you should check out the full interview, if was conducted by VICE, but never got published because reasons:
The interview was a bit of email back-and-forth and a Skype conversation. To be fair, the dude who interviewed me was a freelance dude just doing his job. He genuinely appreciated my photography and was doing his best to get the interview up, but all his editor wanted was “Korean crime, grime and that shit”. In the end I just said that I didn’t see my photography as being negative, and for the editor to want me to gripe about crime/dirt/etc regarding Korea was a bit much for me. I just don’t see Seoul as a place like that. And to be honest, I have had to argue with Koreans enough about how my photography isn’t highlighting a negative side of Seoul that for his editor to want me to do it was kind of dickish. He understood and that was that.