Men Of Good Fortune, North Kivu, Eastern Congo, 2011.Over the years, Irish photographer Richard Mosse has captured everything from postwar ruins in former Yugoslavia, devastation of earthquakes in Iran, Pakistan, and Haiti, occupied palaces of Saddam Hussein, nomadic rebels in the Congolese jungle and more. There is no doubt that Mosse is a man with a taste for danger, but this talented photojournalist does a lot more than chase hard facts in order to capture breaking news. In his latest body or work titled Infra, Mosse uses infrared film to show the civil war in Congo in an entirely different light.Originally developed for military surveillance technology and camouflage detection, Kodak Aerochrome registers an invisible spectrum of infrared light which renders the colour green in vivid hues of pink, magenta, lavender and red.The result is staggering and highly ironic as the bleak reality of Congo becomes spectacular, allusive and sublime. Extreme love!Infra is currently on show at Jack Shainman Gallery in New York until 23rd December 2011.Nowhere To Run, South Kivu, Eastern Congo, 2010.Vintage Violence, North Kivu, Eastern Congo, 2011.Ruby Tuesday, North Kivu, Eastern Congo, 2011.Taking Tiger Mountain, North Kivu, Eastern Congo, 2011.Come Out (1966), North Kivu, Eastern Congo, 2011.House Of Cards V, North Kivu, Eastern Congo, 2011.Growing Up In Public, North Kivu, Eastern Congo, 2011.Even Better Than The Real Thing, North Kivu, Eastern Congo, 2011.General Février, North Kivu, Eastern Congo, 2010.Colonel Soleil’s Boys, North Kivu, Eastern Congo, 2010.[Discovered via Trendland. Images © Richard Mosse.]Share the love:FacebookTwitterLinkedInEmailPinterest 5 Responses Linda from OEKE November 29, 2011 Wow. That is fantastic. Here I was thinking he must have spent hours in Photoshop and then to find it is a particular kind of film. Love it. Makes those big nasty men with guns looks a little sweeter. Reply Bohemian Style November 29, 2011 Amazingness! Although I am also guilty of thinking that it was all Photoshop, I still thought they were an absolutely unique visual experience. Reply yellowtrace November 29, 2011 Well… I must admit I thought it was Photoshop too as I never realised such film existed until now. The things you learn! Nevertheless, it’s a one hell of a feast for the eyes – both beautiful and intelligent. My favourite kind. x dana Reply dean bennici February 8, 2012 hi, i am the supplier for aerochrome infrared film that richard mosses and others use. if you wouild like some, contact me at [email protected] Reply Highlights from the 55th Venice Biennale 2013. June 29, 2013 […] Richard Mosse with The Enclave at the Irish Pavilion. Mosse’s practice resides at the intersection of documentary journalism and contemporary art. See my previous post with more images about Mosse’s work here. […] ReplyLeave a Reply Cancel ReplyYour email address will not be published.CommentName* Email* Website Δ
Linda from OEKE November 29, 2011 Wow. That is fantastic. Here I was thinking he must have spent hours in Photoshop and then to find it is a particular kind of film. Love it. Makes those big nasty men with guns looks a little sweeter. Reply
Bohemian Style November 29, 2011 Amazingness! Although I am also guilty of thinking that it was all Photoshop, I still thought they were an absolutely unique visual experience. Reply
yellowtrace November 29, 2011 Well… I must admit I thought it was Photoshop too as I never realised such film existed until now. The things you learn! Nevertheless, it’s a one hell of a feast for the eyes – both beautiful and intelligent. My favourite kind. x dana Reply
dean bennici February 8, 2012 hi, i am the supplier for aerochrome infrared film that richard mosses and others use. if you wouild like some, contact me at [email protected] Reply
Highlights from the 55th Venice Biennale 2013. June 29, 2013 […] Richard Mosse with The Enclave at the Irish Pavilion. Mosse’s practice resides at the intersection of documentary journalism and contemporary art. See my previous post with more images about Mosse’s work here. […] Reply
