'Next of Kin': Portraits in a time of conflict
Tim Freccia writes of his “Next of Kin” body of work: “‘Next of Kin’ began a few years ago as an attempt to find meaning in my three decades’ career as a working photographer. I became focused on a melancholic symbol: When filling out forms for clients or officials, I’d come to a line labeled ‘Next of Kin,’ which names who to call in an emergency, who to send my remains to. I’ve always balked at this line. Though I’ve been married three times and have three children, I’ve never been able to list a person I’d want anyone to call.
“Then, recently, my son wrote a school paper on the theme of crisis and conflict photography. He and I discussed at great length whether documentary photographers are ‘vultures or artists,’ and I introduced a third category: ‘tradespeople.’ The industry of documentary photography has evolved significantly since I started in the days of film, and I’ve evolved from a person with a technical skill set to an ‘artist’ with a vision to share. I’m not exactly comfortable with this moniker.
“My takeaway from these ruminations is that all along, I’ve been trying to document humans in conflict and crisis. And in a sense, I’ve been making family portraits — images of our cousins whom we don’t hear from so often.”
Freccia refers to himself as a “folk photographer” and specializes in communicating stories of people from all economic, social and ethnic backgrounds. He has produced still photography and motion pictures for many media outlets, NGOs and humanitarian organizations both large and small, in Europe, Asia and Africa. Freccia is based in New York and works globally. He is represented by Ricco/Maresca Gallery in New York City.
“Next of Kin,” by Tim Freccia, exhibition opening and talk, Oct. 16, 7 p.m., at the Half King. The exhibition runs through Nov. 4.
Photography by Tim Freccia.
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