More than through any other lens, migration foregrounds gender as a construct that is also at once a process in the making; one, too, that lends itself to change and flux. It exposes the fluidity of gender.
Photography in the digital era exemplifies modernity’s narcissism and unstable fluidity. In entering the muddy waters of the ordinary and the everyday, it risks anonymity, even irrelevance. This may fundamentally alter the place of photography in our world, but it does not in any way lessen it.
Human migration, when triggered by economic factors, rather than forced by war, ethnic violence or natural disaster, begins, not with the crossing of borders per se, but with the movement of imagination across space.