Obock, Djibouti, 2019

by Olivier Jobard

Photography : archival pigment print 40 x 60 x 0.1 cm 15.7 x 23.6 x 0 inch

$1,660

One of the last works available by this artist

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9.6/10

About the artwork

Type

Numbered and limited to 10 copies

1 copy available

Signature

Signed artwork

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery


Medium

Photography: archival pigment print

Dimensions cm inch

40 x 60 x 0.1 cm 15.7 x 23.6 x 0 inch Height x Width x Depth

Framing

Beige oak frame with glass

Artwork dimensions including frame

50 x 70 x 3 cm 19.7 x 27.6 x 1.2 inch


Tags

Everyday life

Political and historical

Africa

People

Humans

Migration

Beige

Artwork sold in perfect condition

Artwork location: France

Obock, Djibouti. September 2019, Olivier Jobard.
Every night, a thousand migrants are escorted by different smugglers to the less guarded beaches of North Obock. In front of them, the strait of Bab el Mandeb ("The door of lamentations") which separates the Gulf of Aden from the Red Sea. They are waiting for the dhows that will take them to Yemen.

Alu glue 1mm
Numbered print: 1/10
Signed on the back
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About the seller

Atelier/Galerie Taylor • France

Artsper seller since 2021

Vetted Seller


Collector’s Guide

Imagine it at home

Olivier Jobard, Obock, Djibouti
Olivier Jobard

Olivier Jobard

France

At 20, Olivier Jobard joined the Louis Lumière school then the Sipa Press agency, where he worked for 20 years. Today, he is represented by the Myop agency.

After having covered many conflicts as a photojournalist, he went to Sangatte in 2000. There he met Afghan, Chechen, Iraqi, Bosnian exiles… All had left their country because of wars. Overwhelmed by these touching encounters and these exchanges in this last caravanserai, he decides to study migration issues.

Too often described by statistics and hyperbole, migrants form a disembodied mass in the collective unconscious. From Calais to the Aegean Sea, they are photographed in wild hordes or like cattle. These distanced images help to create a visual bestiary.

From Kingsley, whom he accompanied in 2004 on his clandestine journey from Cameroon, to Luqman through the Iranian mountains or with Mr. and Mrs. Zhang who undergo a failed integration, he strives to individualize migration. His main ally is time: he stays with them to create bond and trust. The question of temporality is omnipresent in his work, because it is in the life of a migrant. Waiting and urgency alternate in unpredictable ways. Trials seem to dilate time.


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