T h e P h o t o g r a p h y o f |
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Archival release of unique photographs
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The photographer is releasing a limited collection of photographs from her personal archives, which span more than 20 years of work, from 1993 to 2004. The photographs are full frame and untouched. Although they’re not editioned, they are one-offs, and all are signed and dated. This is an exclusive opportunity to acquire work produced and printed by a highly respected photographer during a specific time frame in South African history. Some of the photographs have never been exhibited or published. This collection of unique prints is being sold to cover medical expenses around the recurrence of Tracey’s breast cancer. Sizes and Prices Postage and handling Collection point in Cape Town Orders
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Project 1 ‘Inauguration’, Cape Town, 9 May 1994 ‘Today we are entering a new era for our country and its people. Today we celebrate not the victory of a party, but a victory for all the people of South Africa.’
Project 2 ‘The Red Ochre People’, Kaokoveld, 1995 When Tracey heard that the Namibian government intended to dam the Cunene River, a project that would threaten the local ecosystem and impact severely on the wellbeing of the semi-nomadic Himba of the region, she travelled there to document a lifestyle that looked in danger of disappearing forever. Today, thanks largely to the fierce protests of the Himba chiefs; the dam still hasn’t gone beyond the planning stages.
Project 3 ‘Eye Inside’, Malmesbury, 2007 Tracey spent over a year documenting the inmates at the Malmesbury Women’s prison. Photographs from this collection were exhibited in Johannesburg and Cape Town.
Project 4 Portraits, various locations, 1993-2010
Project 5 ‘Basic Necessity’, Cape Town, 1997 Tracey’s honest and empathetic portrayals of the people in this ‘scorned, marginalised and persecuted’ industry have been exhibited locally at the Grahamstown Festival and in Cape Town, and internationally in Paris, France and Rio de Janeiro, Brazil.
Project 6 ‘EarthWorks’, the Swartland, 2004 ‘Ten years into the new democracy, it seems that those who work to feed us in South Africa have yet to reap any benefits from the new dispensation,’ said Tracey of her work documenting the lives of farm labourers in the Western Cape agricultural belt known as the Swartland.
Project 7 ‘Her and me’, various locations, 1990-2005 ‘Sometimes I wonder if she was my shadow or I was hers,’ says Tracey about Salvador, the crossbreed street dog who became her constant companion for 15 years. ‘We criss-crossed Southern Africa together, slept, ate, walked, ran and played together, on mountains, beaches and deserts, through rivers, in seas and rain, in cities, on farms and in rural villages. Sal taught me love, bravery, integrity, fun, loyalty, the ever-present moment of now.’
Project 8 ‘Hope from Home’, Cape Town, 1997 In 1994, Tracey travelled to warn-torn areas in Mozambique and Malawi to witness the return of refugees to their homes. ‘It was an emotional experience to be with people who were finally returning to where they belonged,’ she says. ‘They returned with little, but were filled with hope for a new future.’
Project 9 Landscapes, various locations, 1993-2004
Project 10 ‘Still Moving’, Mozambique, 1994 Mozambique’s first democratic elections in 1994 bought hope of stability to a people who had been dispersed by decades of war. ‘My general impression was one of a people in transit – a nomadism of people searching,’ says Tracey of her two months documenting life in that country. Her photographs, which have been exhibited in Cape Town, show people rebuilding their lives: ‘People retained their sense of humour, mutual support and strong family bonds,’ she recalls. ‘They found the energy to continue among flimsy political promises and trust that the end of gunfire is a reason for optimism that can only carry them forward.’
Project 11 ‘The Waters of Life’, South African townships, 1995-1997 Some 35% of the black population of South Africa belongs to the Independent African Churches, which utilise a combination of Christianity, traditional culture and ancestoral worship. Tracey’s photographs of this, then largely unexplored, area of documentation have been exhibited locally in Cape Town, Durban, Johannesburg and Pretoria, and internationally in Paris, Berlin, Stuttgart and Brussels. In them, she has captured the unique energy and vibrancy of African spirituality during many 24-hour ceremonies.
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