• Janine, 2012.01.03, San Salvador, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Janine, 2012.01.03, San Salvador
    1200,800
    Not For Sale
  • Janine, 2012.01.03, San Salvador, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Janine, 2012.01.03, San Salvador
    1200,800
    Not For Sale
  • Janine, Homage (José Nicolás), 2013.01.16, El Congo, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Janine, Homage (José Nicolás), 2013.01.16, El Congo
    640,960
    Not For Sale
  • Homage (Rothko and Ianelli), 2014.01.22, El Congo, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Homage (Rothko and Ianelli), 2014.01.22, El Congo
    640,960
    Not For Sale
  • Muriel Hasbun Homage, (El altar de la memoria), 2014.03.25, El Congo, archival pigment print, 2016.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Muriel Hasbun Homage, (El altar de la memoria), El Congo
    1114,743
    Not For Sale
  • Trace, 2015.02.25, Washington, DC, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Trace, 2015.02.25, Washington, DC
    1203,800
    Not For Sale
  • Janine (Agfa-Portriga), from the archive, Washington, DC, archival pigment print, 2016.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Janine (Agfa-Portriga), from the archive, Washington, DC,
    1200,800
    Not For Sale
  • Family Frames, 2016.07.06, from the archive c. 1960's, El Congo, archival pigment print, 2016.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Family Frames, 2016.07.06, from the archive c. 1960's, El Congo
    1200,800
    Not For Sale
  • Super 8mm film, 2014.09.20, from the archive, circa 1960's, Washington, DC, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Super 8mm film, from the archive, Washington, DC
    1200,800
    Not For Sale
  • Ojos (Mami y yo), from the archive, Washington, DC, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Ojos (Mami y yo), from the archive, Washington, DC
    1200,787
    Not For Sale
  • Je me souviens, c. 1945 (1986), from the archive, revisited 2016, Washington, DC, archival pigment print, 2016.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Je me souviens, c. 1945 (1986), from the archive, revisited 2016, Wash
    640,960
    Not For Sale
  • Juif, from the archive (1997), Washington, DC, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Juif, from the archive (1997), Washington, DC
    1200,800
    Not For Sale
  • In Memoriam, 2014.06.12, El Congo, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    In Memoriam, 2014.06.12, El Congo
    640,960
    Not For Sale
  • In the Center of the Labyrinth/En el centro del laberinto, 2016.07.06, El Congo, archival pigment print, 2016.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    In the Center of the Labyrinth/En el centro del laberinto, 2016.07.06,
    1200,800
    Not For Sale
  • Blue (Martorell), 2012.11.08, El Congo, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Blue (Martorell), 2012.11.08, El Congo
    1200,800
    Not For Sale
  • Daniel, from the archive, c. 2004, El Congo, archival pigment print, 2016.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Daniel, from the archive, c. 2004, El Congo
    1200,800
    Not For Sale
  • Giza and the Sphinx, 2016.07.26, from the archive (2008 and c. 1970's), Washington, DC, archival pigment print, 2016.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Giza and the Sphinx, from the archive (2008 and c. 1970's)
    640,960
    Not For Sale
  • 2012.11.04, El Congo, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    2012.11.04, El Congo
    640,960
    Not For Sale
  • Gift (Daniel), 2012.07.29, El Congo, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Gift (Daniel), 2012.07.29, El Congo
    640,960
    Not For Sale
  • Janine, 2011.12.11, San Salvador / Washington, DC, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    Janine 2011.12.11 San Salvador/Washington, DC (si je meurs/if I die)
    1200,800
    Not For Sale
  •  2012.11.22, El Congo, El Salvador, archival pigment print, 2015.

    Throughout my career, I have employed photography to investigate issues of identity and memory. I’ve created a dialogue between the past and the present and between personal memory and collective history.

    I grew up in El Salvador during a time of strife, within a Salvadoran/Palestinian Christian and Polish/French Jewish family. I’ve explored my family’s history and it’s various exiles and diasporas, and have re-constructed a world inhabited by trauma and loss.

    An extended portrait, si je meurs / if I die continues to explore a subjective, diasporic space, balancing absence and presence. I pay homage to the relationship with my mother, Janine Janowski, construct my own sense of identity, and allude to the legacy that she left behind.

    The photos evolved naturally as we confronted the most human of destinies:

    --As if I could ever get used to it

    --As if the picture would somehow wish it away…

    With these photographs, I share my intimate perspective to the historically-significant, public narrative of Janine’s life as a cultural promoter and founder of the renowned galería el laberinto in El Salvador during the civil war and its aftermath, now reactivated through laberinto projects, also inspired by her.

    2012.11.22, El Congo, El Salvador
    1200,800
    Not For Sale
Click To Enlarge
Exit Enlarged View
Exit Stack View
si je meurs/ if I die
Previous Image
Slide Show
Next Image
si je meurs/ if I die
Description
Price Information
Share:
Copyright