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Arsenic
SERIES: AMERICAN SUBLIME, It's not what it seems, 2020.
100 x 80 cm. Edition 1/3.
Archival pigment print on Ilford Smooth Gloss paper, from an original 4 x 5 inch color negative sheet film, photographed with a 19th-century plate camera. Edition size 3 + 2AP
The nearest water station for Darlene Yazzie is 9 miles away at the Dennehotso Chapter House, a community center, in the Four Corners region of the Navajo Nation. On Tuesday, she counted her dimes and nickels to pay for water. It costs $1.10 plus gas money to fill up two 50 gallon barrels, and she has just been told the price is going up next month. Yazzie lugged a T-shaped key as tall as her out to the well, where she dropped it down into the hole and turned the crank to open the valve. Water gushed into the plastic barrel. A cool mist from a leak in the hose rained over her. This is Yazzie's drinking water. For her animals, she usually drives to a windmill, but on this day it was empty and the sheep were thirsty. "There's no water in the windmill," Yazzie said. "It's dry because it's not blowing. The only way they have water is if it's blowing." Yazzie said the windmill water isn't safe for humans anyway. Officials told her arsenic and uranium levels are too high. Yazzie and many others give the water to their animals, even though they plan to eat them. Source: "Many Native Americans Can't Get Clean Water, Report Finds" Laurel Morales, NPR
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Betsy is an artist working with a camera. Examining her work from that perspective is essential. Her photographic, yet dissonant images carry distinctly the qualities of the lens and camera housing as if it were a theater for the viewer. The trees and landscapes, for which she has such affection, branch out to the edges of the film as if projected on the wall like a camera obscura. Her photographs are an invitation to take a ride in her nineteenth-century field camera and experience the magical sublime of nature as perceived by the artist. Betsy has experimented with analog film and traveled the world for more than thirty-years in search of her extraordinary subjects and processes.
