To capture the scale of deforestation in the Brazilian Amazon, the Irish photographer repurposed satellite imagery used by climate scientists to artistic effect
hangs in the balance. Levels of deforestation have reached a record high on Mr Bolsonaro’s watch, and nearly all of it is illegal. His scorn for indigenous reserves and environmentalists has emboldened criminals, who are among the subjects of Mr Mosse’s work.
“These fronts of deforestation were being overlooked,” he says. So he wanted to make people look again, “to refresh the imagery of the burning rainforest”. In someone else’s hands, 74 minutes of cattle ranchers, logging, wildfires and could become repetitive. But the sequence unfolds on a 20-metre-wide screen, and is deftly edited to match a soundscape so loud that it reverberates through the visitor’s body.
The objective was to document the destruction in a way that “carried the ambiguity that I was seeing on the ground”, the artist says.
used for moving images, achieved by mounting a custom-built device to a helicopter. Yet it is a nuanced medium. Mining companies employ multispectral technology to prospect for minerals; farmers use it to monitor crops on deforested land. The most striking scene is a powerful reminder of art’s ability to shift perceptions. Mr Mosse says his film is “deliberately and carefully non-didactic”. Yet it is a hard-hearted person who looks away from the spontaneous monologue delivered by Adneia , a member of the Yanomami tribe. She recently fled her village with her children afterattacked them with automatic guns. Violence is just one of the threats mafias in the rainforest pose to these remote communities.
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