Cristo de Aldea Zacapulas, Quiché, Guatemala, 1988

To explain his art, Daniel can point to the significant subtext in any photograph which ties the image to its place in time and space – the indicators that reveal, to use his term, the “it-ness” of the image. But the “it-ness” of the photograph only comes clear if you know the significance of the dates (early 1980s) and what that era meant in the history of Guatemala (a time of genocide, unrelenting violence and war) Yet, at the same time, Chauche has no desire to own your “Aha!” moment. He has plenty of his own at work and in the world, with his camera. As he collects and creates images, he brings to his audience his own personal experience – experiences that the viewer can feel, standing alone in the gallery. When he has created his art, framed and represented his subject, one feels as if they are seeing the world through the photographer’s lens, and yet also, very much through their own eyes. The realization of that shared experience between the artist, the subject, the history and the viewer is the root of the there / not there paradox. Oddly and inspiringly, you also get the sense that this means you, too. The woman with the child on her hip is not there. Nor are you. The man with the lottery tickets is not there. Nor are you. Death as a costumed dancer is not there. Nor are you. And yet you all are – in a place out of time and space. Chauche is the conduit to that Antigonish experience.