Finding no solution, Kranitz now perceives her work as a reflection and examination of the legacy of representations of poverty. “I don’t pretend to solve the problem of ‘poverty porn’ with a specific strategy,” she explains. “Instead, I make work that acknowledges the failure of representation to ever be able to communicate the other.”
Kranitz now lives in Appalachia and creates images from her perspective as a participant-observer, immersing herself in the lives of the individuals depicted. She knows them intimately: doing drugs, partying together, becoming friends, and even lending them her camera. The photographs themselves, of which there are over 200, are peppered with many aspects of life in Appalachia, from the region’s rolling hills and smoky mountains, to Native American tourism and rural family life, but they also lend themselves to the poverty, drug and alcohol abuse that is prevalent in the region. This speaks of the limitations of photography; while the photographs reflect on the beauty of the place and the banality of everyday life, the shocking and confrontational images take over.