ABSTRACT
The study of crisis as a subject in its own right has occupied us practically and personally for many years now. Our initial starting point was the important question of economics, and the problems of how to represent it. At an everyday level the work was also the result of having to confront a life-threatening illness and encountering the many taboos which surround the cancer patient. These twin poles then brought about a double ‘crisis of representation’ which we as photographers have continually tried to address. Thus, our ‘Crisis Project’ does not simply stem from theory, nor is it an attempt at ‘correct positionism’; rather, we have tried to amalgamate our lived experiences in crisis management with diverse theories of the visual.
