David Yarrow
Antz
2015

About the Item

Chittagong, Bangladesh 2015 Archival Pigment Print on 315gsm Hahnemühle Photo Rag Baryta Paper Each is signed, dated and numbered on the front. Edition Size: 12 Available sizes: 48 x 61 inches 67 x 86 inches All prints are on 315gsm Hahnemühle photo rag Baryta paper and varnished after processing to give both endurance and sheen. Each is signed, dated and numbered on the front. Price includes David Yarrow's custom black ash frame, white archival matting and protective UV acrylic. For unframed, $1,500 will be deducted from the price. David Yarrow has built an unrivaled reputation for capturing the beauty of the planet’s remote landscapes, cultures and endangered animals. Born in Glasgow, Scotland in 1966, he is an internationally acclaimed fine art photographer and Europe’s best selling wildlife photographer. "The ship breaking yards of Chittagong, Bangladesh offer a mystical allure that is incongruous. There maybe romance in the art of building big ships – my family background in fact – but there is little for the romanticist in the primitive dismantling of these vast cathedrals in the sky on these muddy shores to the north of the country’s second city. This is a nasty, dark and soulless place – ostensibly it offers nothing but an elemental canvas on which to frame extremes. However the haunting rawness of the factory beaches is spectacular – there is so much more for artists to feast on here than at the beaches of St Tropez. This is emphatically life on the edge of our planet and its depiction offers a good opportunity to propose that beautiful art is not exclusive to the portrayal of aesthetically beautiful things. That linear a relationship would make all our lives one dimensional and uninteresting. Very few western photographers make the trip to this part of the world and the corollary of this is the chance to engage and maybe even shock with the results of the assignment. Also, the window in which photographers can paint onto this canvas is rapidly closing and therein lies the reason that I was anxious to travel down to Chittagong in 2015.The yards are being tidied up, with less child labour, better safety standards and a greater degree of worker rights. What was hell is still hell, but as each year goes by, the ship breaking yards are adopting more humane practices. There is now organisation to the chaos. Furthermore, access for all visitors to the yards is now strictly prohibited and even workers are not allowed to take their phones to work for fear of new footage from the camera application further embarrassing either the government or the private yards. Photographers are not welcome here and any English speaking fixer will tell you this immediately on arrival. This is a massively important industry for Bangladesh – each boat brings in $7m of revenue, which then multiplies as it moves down the food chain. The road inland from the yards has heavy security and my preconception that bribery at the gates could work was misplaced. The beaches that Edward Burtinsky cleverly portrayed with his trademark dispassion some 12 years ago, are strictly out of bounds from land. The only alternative was to land ashore quietly by fishing boat and then approach the factories by foot. This is a dangerous route that few photographers, according to Maajhi my appointed fisherman, have chosen. The tides are fast, the beaches are sinking mud, not sand and the workers on top of the vast tankers 500 feet above the sea will throw pipes and debris at you, if you invade their space. It is as hostile as it can get without the use of guns. So that was exactly what we did. I had two goals on this assignment and one wish. The first goal was to offer a sense of scale, the second was to capture a sense of this industrial place and then my wish was for the cloud cover to be stormy. It seemed that this was a place where ‘angels fear to tread’ and therefore a sky that suggested impending trouble was more apposite than ‘picture postcard’ blue. (It is always so). The picture below – which we have called ‘The life of Pi’ emphatically scores on the sense of scale. The young fishermen offer context and they help tell a story. The light worked well and there is a pleasing composition particularly with the eye being led into the central vortex framed by the hulls. There is a great deal of information in this picture and as with ‘Mankind’ it can hold the attention for a long time. It is a strong image. Yet, as I looked at the image again and again in my modest hotel bedroom that night, I knew I wanted more. The weather was too good that day for a start, but far more importantly the tide was in and that was manifestly a double-edged sword. On the one hand, it was a positive as Maajhi and I could use the high tide to get very close to these enormous structures that – panel by panel – were being dismantled. But the tide prevented a real sense of place – no workers on the mud, no metallic scrap yard chaos and no juxtaposition of project management of ‘Noah’s Ark scale’ occurring on a muddy beach in 2015. The next day, I was singularly focused on these issues and left my room at 4.30am to be with Maajhi before dawn: This allowed us to reach a particularly apocalyptical part of the yard I had noticed earlier in the week, before the tide came in. Encouragingly, the weather was hot, but clearly stormy. The security detail was light – it was too early for anyone to worry about photographers landing by sea, but the mud was horrendous and very unnerving. I had some fairly precious equipment in my hands as I staggered vulnerably through the mud. The result is a big moment. I remember singing ‘Matchstalk Men and Matchstalk Cats and Dogs’ as a kid and as an adult I have great affection for AS Lowrys industrial work. Maybe it comes right back to my family roots – shipyards, scale and hard work. This image ‘Antz’ has not just a poetic evocation of size and scale, the onshore detail of workers coalesces with the mighty tanker to offer that true sense of place which I was looking to capture. The gathering storm – it rained heavily half an hour later – was fortunate detail as was the accompanying early morning shaft of light. But it is the worker detail that lifts this photographic essay – the seemingly senior figure at the back enjoying an early morning smoke as the matchstick 3 walk towards him. I feel confident in my assertion that a Nikon SLR has never been in the spot before and I doubt any photographic practitioner will be mad enough to try and shoot from the same angle. There is simply too much to organise and – of course – as of now, it has been done before. Besides, the ship will soon vanish. ‘Antz’ is a true moment in time." -David Yarrow

Creator:
David Yarrow (1966, Scottish)
Creation Year:
2015
Dimensions:
Height: 48 in (121.92 cm)Width: 61 in (154.94 cm)
Medium:
Archival Pigment
Movement & Style:
Contemporary
Period:
21st Century
Condition:
Gallery Location:
Chicago, IL
Reference Number:
1stDibs: LU38832754783
View Invoice

Shop All David Yarrow

David Yarrow

David Yarrow, born 1966 in Scotland, took up photography at an early age, as a 20-year-old he found himself working as a photographer for The London Times on the pitch at the World Cup Final in Mexico City. On that day, he took the sensationalized picture of Diego Maradona holding the World Cup and, as a result, was subsequently asked to cover the Olympics and numerous other high profile sporting events.

Many years later, Yarrow established himself as a fine art photographer by documenting the natural world from new perspectives and recent years have been career-defining for his mark on the world of contemporary fine art photography.

Yarrow’s evocative and immersive photography of life on earth is most distinctive and has earned him an ever-growing following among art collectors and celebrities. His distinct large monochrome images made in Los Angeles are on display in leading galleries and museums across Europe and North America. Yarrow is now recognized as one of the best-selling fine art photographers in the world and his limited edition works regularly sell at high prices at Sotheby’s and other auction houses.

In September 2019, Rizzoli published their second book by Yarrow, with a personal foreword written by global NFL star Tom Brady and thoughtful afterword written by American cultural icon and supermodel Cindy Crawford. All royalties from the book have been donated to conservation charities Tusk in the UK and WildAid in the US.

Yarrow's position in the industry has been rewarded with a wide range of advisory and ambassadorial roles. He is an ambassador for WildArk and The Kevin Richardson Foundation and is the European ambassador for Nikon. Yarrow has been integral to Nikon's most anticipated camera release of the last decade. In December 2017, he shot LVMH’s latest “Don’t Crack Under Pressure” campaign with Cara Delevingne. In January 2019, he was appointed as a global ambassador for UBS. In the spring of 2020, Yarrow was appointed a global ambassador for Best Buddies – one of America’s most established children’s charities.

Yarrow became an ambassador for the African Community and Conservation Foundation and presented his work in the Endangered Rangers virtual fundraiser. At the start of 2020, Yarrow was in Australia documenting the devastating bush fires that have destroyed communities, wildlife and wildlands. Using the striking images that he captured of the effects of the fire, he launched the #KoalaComeback Campaign to support the recovery efforts in Australia. The campaign raised over $1.4 million, and as Yarrow continues to work for humanitarian causes, his steadfast determination continues to make positive change for the benefit of global awareness. Currently, Yarrow continues to create stunning imagery with lasting global impact and archival quality that speaks to his reverence for the art of photography in capturing the wonders of the world.

Find a collection of original David Yarrow photography on 1stDibs.