The photographer embarked on numerous road trips across the country and photographed what she observed. “I try not to think about how the images will fit together,” she explains, “I just go, and end up with a big box and make little prints, which I shuffle around and think about how they connect visually, temporally, and thematically”. Read together, the images, many of which depict quintessential scenes of American life in exquisite colour — a small, white church nestled on a vast expanse of rolling meadow, a tarmacked street lined with industrial warehouses — are the antithesis of news photography. Shifting between landscape photography and social portraiture, the images are not documents of specific events, instead, they tease out interweaving narratives that span decades and touch on the US’ political history, particularly in the south, along with multiple other issues including identity, racism and immigration.
“In terms of how the images are put together, it is like free association,” says Lê, “finding visual connections but also thematic connections. These days we are bombarded by images — on Instagram and on the Internet. They are often square or very graphic, and you just flip through them very quickly. I am more interested in images that are descriptive — describing a gesture in a way that you have not seen before, or a moment, the light. I want to keep the viewer engaged long enough that they will start being engaged intellectually as well”.
And it takes time to unravel the project, which feels as though it contains infinite meanings, revealing its countless historical and contemporary references and the connections between these. “I do not want the pictures existing in a vacuum and that is why historical references are important,” she explains. One image, the only portrait-orientated picture in the series, depicts weather-worn statues of the secessionist generals Robert E. Lee and P.G.T. Beauregard, both generals in the Confederate States Army during the American Civil War, housed in a temporary wooden container at the Homeland Security Storage. The statues represent the dark legacy of slavery and the ongoing issue of racism, which pervade the south, along with the subjects of colonialism, migration, and displacement.
Walt Whitman’s Specimen Days, which Lê came across by chance during her work, provided a point of inspiration. “It gave me a clarification of how to move forward. He was a journalist, so it is almost photographic in the way he talks about and describes moments and events,” she reflects. Written in 1882, the poetic prose is divided into short titled fragments throughout which Whitman blends personal history and current affairs as he remembers the Civil War era. The book’s structure also influenced her: “The fragments made me think about stringing together a series of pictures to say something; the whole evolution is not linear.”
The images should draw us in with their “complicated beauty,” as Lê describes it, explaining the discordance between their aesthetic appeal and the darker, underlying narratives. “I want people to enter into a picture and have a complicated physical experience,” she says. However, the photographer avoids telling us what to think and encourages us to question what we see; to acknowledge the fine line between fiction and truth — mixing images of film sets with references to history, and events unfolding in real-time. The images’ individual titles are significant but Lê keeps them brief to “provide enough information without pushing people to interpret or follow my interpretation”.
The Silent General is ongoing, and Lê will continue developing on it until, at least, the presidential election in November. “We have made progress, but how much progress have we really made,” she muses. “I am not interested in telling people what to think. I want to throw those questions out there.”