I have inserted myself into the Nazi reenactor photographs in an effort to subvert the viewer’s instinct to dismiss these people as different from themselves. I believe that the grey areas between ethical imperatives may offer new potential to understand and relate to a subject.
Much of our conception of history is based on images. The reenactors base the authenticity of their looks on images and, in particular, on Riefenstahl’s film Triumph of the Will. Historical images have been filtered through media and propaganda. These images become history as generations pass, memories fade. Photographs and film become the dominant forces that shape the public imagination. My newly created images of the reenactment are part of the deconstruction process by which images first represent and then replace history.