The Perp Walk of the Shamed proves only one of the leitmotifs running through Tomaselli’s series. Another, which likewise surfaced right from the beginning, is that tendency for formal geometries. Thus, post-earthquake Haiti in ruins (Jan. 14, 2010 and Jan. 16, 2010); the bombing attack on Shiite demonstrators in Pakistan (Sep. 4, 2010); the fate of the Guantánamo prisoners (Apr. 25, 2011), in which the geometry becomes almost web-like in its constriction; and Syria (July 25, 2012), where evidence of the war’s having reached Aleppo is veritably tessellated over with ornate tilework (note the homonymic pun with the entirely coincidental report beneath the image on a “Mogul’s Latest Foray”).
“With many of those, yes, I am struggling to find a way to channel my horror or grief, and in particular not to play with or play off images of death: to give the dead their due—their privacy, as it were, while still acknowledging the scale of the tragedy of their passing.”
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