Tako Robakidze on the photography of Creeping Borders

I cannot work from a distance. I mean, like an observer. I always become part of I don’t know … the family. All of my projects, they’re about social issues. War and conflict for me is the biggest social injustice. I work very slowly and I make research before. I read lots of things and then I started to go to each village. I wanted to see what’s going on in each of them. And everywhere you can feel the despondency because no one knows what will happen tomorrow or the day after tomorrow. People living near the occupation line they are the most important. And people who lost their homes. They are the most important. For me it’s … I have never been good at talking and engaging in conversations. So I found a perfect way of expressing my thoughts and feelings through photography. I have a very severe connection to the theme. And I talk a lot with the people, and I really try always to be very very honest. And to believe in what I’m doing. This particular problem is fading from the headlines because our memory is can [only] remember events which happened recently. And very severe events which are very obvious and direct. When we think about the conflict we think about the war in 2008 and we don’t realize that this conflict has not ended. That it’s still going on. And that the occupation is still going on. People living near the occupation line they still suffer on a daily basis. When I was in New York we had this small, closed screening for the Magnum Foundation staff and some other people they understood the issue so it was the most important. Because when a foreigner understands what’s going on in your country it’s very important.

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