Inspired by Walker Evans’ social documentary approach to storefronts and signage, Ed Ruscha’s deadpan documentation of gas stations, and the industrial typologies of Bernd and Hilla Becher, Khalsa took an “objective, frontal approach” to lensing the names, signage and architecture of these stores. Alongside advertisements for sunglasses or ice cream, simple typography promised consumers “Y2K SUPER WATER”, “PERFECT DRINKING WATER”, “KING WATER”, “PARADISE WATER”, and more.
“I was drawn to the ones that had unique names, referring to natural water sites like ‘lakes’, ‘rivers’ and ‘springs’, or using descriptive words like ‘clear’, ‘cool’ and ‘fresh’, or elements of spirituality like ‘paradise’ and ‘heavenly’,” Khalsa explains. “My work as an artist and activist is about our relationship with the natural world, or our disconnection with it. So I found these stores really ironic – the idea that you go to the ‘River’ store to fetch your water, and somehow it makes you closer to nature. Or you bring your plastic container to a store that promises to make you ‘happier’.”
Upon completing the series in 2002, Khalsa wondered how the photographs might be read in future: “Would they be a historical document of a fleeting fad, or the foundation of what may become commonplace in our society?” With two-thirds of the world’s population predicted to face water shortages by 2025 as a result of climate change, her project feels even more prescient today.
“Water quality and water scarcity are bigger issues now than they were twenty years ago,” Khalsa says. “I think Western Waters helps us understand how many people view the natural world as a commodity, and human desire as a never-ending thirst, rather than appreciating our responsibility to protect and preserve the water that sustains all life. The project is about bringing awareness that we are nature. We’re intimately connected to it, not superior to or distinct from it.”