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A few weeks ago I wrote, for Wired, a piece about Edmund Clark‘s latest body of work Control Order House. The piece carried the irreverent title This Incredibly Boring House Is a U.K. Terror Suspect’s Lockdown but the details of the project it gets into – two years of negotiating access, Clark’s process which riffs on surveillance and forensic photography, Clark’s the decision to present every photograph he took in the order he took them, etc. are important, mildly complex and worth getting one’s head around.

The house Clark documented belonged to a pre-trail UK terror suspect, under house arrested, referred to in legal documents as CE.


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I wrote:

Control Order House is the only existing photographic study of a residence occupied by a person under a UK control order. It is not an exposé, however. Given the legal sensitivities, every image was vetted by UK government officials. Clark was not allowed to reveal the identity of the terror suspect — referred to in legal documents as “CE” — nor his location.

“To reveal CE’s identity would be an offence and in breach of the court-imposed anonymity order,” says Clark. “All the photographs I took or the documents I wanted to use had to be screened by the Home Office.”

For Clark, the project is best appreciated in its book form. Control Order House was published by HERE Press and released May 2nd.

Clark refers to the book as an “object of control” because at a point, he accepted that, with so many attached limitations, his photography was almost an extension of the state power he was documenting. All of his equipment had to be itemized and registered with the UK Home Office before his three visits.

Wired created a Scribd document (that has no URL, but is embedded in the article) with six pages of Clark’s correspondence with both the terror suspect and the UK Home Office employees.

“Even CE’s lawyers made it clear to me that the I had to careful about what I spoke to him about because the house was (very probably) bugged and that my telephone communication with him would be monitored,” explains Clark. “All my material, even my words here [in this interview] could become part of CE’s case.”


Control Order House is a finely balanced project. It is hampered by so many obstacles to unfettered depiction that our traditional notions of what photography is supposed to do are frustrated. It is not exposé; it is completely descriptive of its own limitations. It’s these limitations from which we must depart in thinking about photography in highly policed spaces. Control Order House should kick-start considerations of lesser seen photographs from the Global War On Terror (GWOT), namely, images of drone strike aftermath, Aesthetics of Terror (as, in this case, distilled by artists), redacted images in magazines distributed at Guantanamo (scroll down), Kill Team trophy photos, American personnel’s own vernacular war photography, and Jihad suicide posters.

Control Order House is about the act of photography. It’s self-referential as kids’ MFA work that deconstructs photographic process, but — unlike those studio experiments — it has roots in a clearly identifiable political territory. It shows us more than we knew but not as much as we would like to know. In so doing it reminds us of all the operations, violence and war crimes carried out on our tax dollar that we never see, never know.


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International Commission Tent, St. Paul’s Camp. © Ben Roberts

Ben RobertsOccupied Spaces catalogues some of the communal and private spaces that were installed in the St. Paul’s and Finsbury Square camps. The traces of activity and inhabitance serve as a clear document of the utilisation of a limited space by a large number of permanent and temporary residents.

My colleague at Jakob Schiller wrote about Occupied Spaces in November with his piece Pianos, Kitchens and Offices: Inside London’s Occupy Tents. It’s good to see this work progress into a book format.

Roberts says:

“On 15 October 2011, protestors representing the global Occupy movement set up a semi-permanent camp outside St. Paul’s Cathedral in central London. The aim of the protest was to encourage discourse and raise awareness of social and economic inequalities.”

“On 25 October, several UK newspapers and media outlets ran stories claiming that ‘thermal imaging’ proved that only 10% of the 250 tents in St. Paul’s Square were being inhabited overnight. I was immediately skeptical of these claims.”

Ben Roberts Occupied Spaces
210 x 288mm, 28pp 24 colour photographs Text by Naomi Colvin Digital indigo + riso print on uncoated recycled paper Elastic cord loose leaf document binding Bagged in clear self-seal polypropylene.
First edition.
You can buy the book HERE!
For further information contact: Harry Hardie +44 (0) 7813 431345


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