Text by Barry Vacker, Anne Wilkes Tucker.

In The Deep End, Damion Berger makes use of photography's ability to de-contextualize the familiar and create visual narratives, evoking a fusion of dreamlike memories and sense of childhood regression The clear, warm water of the swimming pool represents an intersection between the cultural and social pursuit of leisure, the natural element of water, and man-made space. The pool provides a place of temporary dtachment from life's everyday routine, people seem liberated and at once removed from any social reference as they float, dive, sink or swim through the water. Smuggling a camera into public pools where photography is of course prohibited. Berger was able to work without the knowledge or complicity of his subjects as he attempted to produce photographs that simultaneously rekindle memories of childhood and the joys of summer times past. Berer also wanted to subvert certain waterborne fears that often stem from childhood. Since seeing the film Jaws for the first time, the potential presence of a shark below the surface, no matter how irrational the possibility, such as in a swimming pool, has become a powerful phobia. Placing a small rubber toy shark close to the lens and altering one's perception of reality and scale, the indelible silhouette of the large dorsal fin angled towards an unsuspecting swimmer is enough to evoke dread and anxiety in us all. An intriguing mix of wonderful, artistic, but also fascinating photography, that leaves the viewer in a state of pleasant confusion.

The imagery in The Submerged was produced within Mid-Wales in a coastal and hilly area existing at the end of the railway line. Sank became intrigued by the way both structures and people interacted with the urban and natural make-up of this environment. She was drawn towards a sense of grittiness and resolution within the geological and architectural fabric of the place, something so often mimicked in the light, color, dramatic skies and the human performance within.

One Block is a quiet portrait of post-Katrina New Orleans as seen through the prism of a single city block. Using portraiture, still lifes and abstracts, One Block traces the ongoing physical and psychological impact of the hurricane on a community and its residents. While the project tracks the physical changes to the street, it also pays significant attention to the less tangible, but equally important, psychological infrastructure of this community. As with Andersons first book Rough Beauty, One Block is a story of resilience and grace amidst problematic circumstances.

The Innocent is a collaboration of trust and discovery from the vantage point of the children living in the war-torn region of northern Uganda who are resilient enough to show their courage, strength of will, and hope within the human spirit amidst conflict. The Acholi and Luo tribes have been caught in the middle of a complex and barbaric civil war for twenty-two years, in which countless numbers have been brutalized, and abducted minors comprised almost 90% of the rebel soldiers. It is estimated that as many as 66,000 children have been abducted by the Lord's Resistance Army wrenched from their families and forced to become soldiers and sex slaves.

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