How do cities heal?
We step “Out of the Darkness”
“To heal but never forget. To honour the ones we lost. To celebrate the life we have.”
~ Jan Lambourne, survivor of Las Vegas shooting of 2017, CBC interview, October 1, 2018, Briar Steward, reporter
How do we find that light again? How do we save the light of the ones we lost and of those who are forever marked by the event? How do we find that courage and resilience to continue? Furthermore, how do we dispel the darkness?
This series, Out of the Darkness, provides an intelligent way of initiating a discussion on the tragedies of terrorism and mass random violence without the use or exploitation of graphic imagery. We do not always need to see the wounded, the dead and the destruction in order to address how we survive the chaos and reconnect with ourselves, with each other and with our living spaces.
LAS VEGAS 01
The use of brute force as a tool of control stems from a misguided belief that the terror imposed on an innocent population will rectify a perceived or real transgression, or destabilize an unjust society and generate a new order. Motivations for these acts come from a range of beliefs and distorted perceptions.
Toronto-based photo artist Thomas Brasch documents international locations that have witnessed acts of violence. He takes photographs of notable architectural landmarks, in order to create iridescent jewel-like abstractions. He wants to demonstrate, that despite the abhorrent tragedy and irrecoverable loss of human life, resilience and survival can rise up and radiate, after the chaos of rage and terror.
The circle is a line without a beginning or end. It can be seen as a symbol of wholeness and perfection, or of power, motion and time. The beauty of this geometric construct is the foundation of Thomas’ series. The vibrant orb, which emerges from the black background, belies the anger and senseless violence, and acts as a counterweight that elevates us out of the chaos and despair.
Other Cities represented:
This series made its debut during Contact 2018, in Toronto. Since 2015, he has been developing and refining his technique. His process includes researching incidents and scouting the cities to find an appropriate source image. In the studio, hours are dedicated to editing and manipulating to achieve the final image.
Thomas seeks to donate an Artist Proof of each image to the respective organizations that are creating memorials for these events.