Here at the Photography Department of Tyler School of Art we had the pleasure of having Gabriela Bulisova give us a unique presentation enabling her to speak of the work she does and the stories behind each of her photographic series. Starting off the power point, she introduced us to a timeline that spanned across her whole career as a Documentary Photographer. Within a fraction of a second, seen through the years she spent abroad in ever-fluctuating states of Iran, Syria, and Lebanon, I quickly fine-tuned my ears and cemented my eyes to the screen.
Riveting, potent, and dynamic are just a few words that can begin to describe her imagery. These are just words however, and as Bulisova explains about her subjects in her series "Chernobyl Revisited", which deals with "the worst environmental catastrophe" in the history of humanity located in Ukraine, she specifically states,
"But what does the 'worst environmental catastrophe' actually mean in the every day lives of the people of Ukraine and Belarus, cannot be any dictionary".
This is how the photographic medium, in the hands of a sensible human like Bulisova, can help propel such words into visions, and visions into emotions. A tragic overflow that embodies the struggles of humankind constantly spreads across the ground. In Bulisova's photographs, she not only captures what's seen on the surface, but rather, makes an attempt to dig deeper and deeper relinquishing all stereotypes and absolutes. There's authenticity in what the Documentary Photographer initiates between herself and her work. Whether it's through the individual exchanges Bulisova had with an Iraqi Refugee, or witnessing the unshakable silent ideals of many foregoing a revolution in Iran, there is always something progressing showing knowledgeable adversity against what sometimes can be perceived as insurmountable odds.
As much credit as I can give to Bulisova for giving identity to the man holding a hand over his face and the woman behind the wooden deck railings (figures above), this comprehensive juxtaposition would not be possible without her exceptional keenness to each image. Her compostions and conceptions are particular, neutral, and most importantly true. Going through each series in her slideshow, I couldn't help but acknowledge that right here in front of me was an Artist, selfless, cloaked with comfort and ease, in pursuit of unbiased human reality. Of course the Documentary Photographer, the Artist, and the Human will never have complete contentment with themselves as the stories of struggles persist and a call for identities continue. This and will always be the story of Gabriela Bulisova.
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