Robert Polidori After the Flood
The idea for my book After the Flood came to me a few days after I arrived in New Orleans, two weeks after the onslaught of Hurricane Katrina. I was sent there by The New Yorker magazine to cover the devastation that this storm had unleashed on the fragile city.
I immediately realised that the scope of this catastrophe was much greater than that I had imagined, and so I took it upon myself to return and follow the evolution of the recovery. I envisioned making a book on the immediate aftermath of the flooding, the demolition of the houses, and what I expected to be their eventual reconstruction. After four visits to the city (September 2005; January, March and May 2006), I realised that there would not be any substantial reconstruction. The primary reason is that the city’s economy vanished with the residents’ collective evacuation. Because of this, my book covers only 180º of the recovery cycle that I initially imagined.
It has long been my conviction that rooms are both metaphors and catalysts for states of being, and are thus an insight into the soul of their occupants. We may take a portrait of an individual, and indeed feel many emotions and imagine their personalities or histories in detail, but I believe that by photographing the interior of an abode we know much more about one’s actual personality and personal values. The interior spaces that I photographed in New Orleans were still moist from the receding flood – and indeed the stench of organic rot, the sagging carpets, and waterlogged floorboards made photographing difficult – but it was nevertheless important to me to record for posterity a panorama of mementos of interrupted lives. It is also important to note that the overwhelming majority of these interiors’ occupants are still alive today, living a different life somewhere else. Together with the exteriors, in which I attempted to make visual sense of the forces of chaos that threw houses about as if they were made of cardboard, these photographic records are offered as a kind of visual last rites for life trajectories that are no more.
About the author
1951, Montreal, Canada
Ojai, California, United States
Robert Polidori was the theatre manager at the Anthology Film Archives between 1972 and 1974, and later moved to the State University of New York at Buffalo in 1980 for his postgraduate study. Between 1998 and 2007 he was a staff photographer at the New York magazine.
Robert Polidori has exhibited extensively in Europe and America and has published numerous books including After the Flood (2006, Stern Fotografie: Portfolio No. 41 (2006), Zones of Exclusion Pripyat and Chernobyl (2003), Robert Polydori’s Metropolis (2004), Photographs by Robert Polidori (2001), The Levant: History and Archaeology in the Eastern Mediterranean (1999), La Libye Antique: Cities perdues de L’Empire Romaine (1998), Châteaux de la Loire. Photographs by Robert Polidori (1997), Versailles (1991).
Benoit Aquin, The Chinese 'Dust Bowl', 2006-2007
Edward Burtynsky, Selected works, 1996-2007
Jesus Abad Colorado, Landscapes and Battles: Two wings wait for the end of the tragedy, 1995-2002
Thomas Joshua Cooper, The World's Edge - The Atlantic Basin Project, 1998-2006
Sebastian Copeland, Antarctica - The Global Warning, 2006
Christian Cravo, Waters of Hope, Rivers of Tears, 1995-2008
Lynn Davis, Ice, 1988-2007
Carl De Keyzer, Moments before the Flood, 2006-2007
Reza Deghati, War and Peace, 1994-2006
Susan Derges, Eden & The Observer and the Observed, 1991-2008
Malcolm Hutcheson, Lahore's Waste Water Problem, 2008
Chris Jordan, In Katrina's Wake: Portraits of Loss from an Unnatural Disaster, 2005
David Maisel, Terminal Mirage & The Lake Project, 2001-2004
Mary Mattingly, Second Nature and Time Has Fallen Asleep, 2004-2008
Robert Polidori, After The Flood, 2005-2006
Roman Signer, Body of Work, 1976-2000
Jules Spinatsch, Snow Management, 2004-2008
Munem Wasif, Water Tragedy: Climate Refugee of Bangladesh, 2007