I felt many things when I took this photo of human remains housed temporarily in a shed while the mass grave is reconstructed. Each time I raised my camera, I felt intrusive—intruding on people's personal grief, something that ought to be respected, away from inquisitive/prying eyes. I also felt protected—reminiscent of Susan Sontag’s perception about picture-taking: it's ability to relieve anxiety.
Nicaraguan agricultural workers, camped in protest across from the National Assembly in downtown Managua from 2000-2010, deployed their naked flesh as mirrors of the violent indifference with which they were treated by Dow chemical and the banana business that allowed their exposure to the dangerous pesticide nemagón. Many have lifted shirts and leg pants, or in the case of men even stripped down to nothing to expose their dying flesh in protests, to the government, the media, various courts, and other Nicaraguans. I took this and other close-up photos of protesters’ bodies, with the nemagoneros’ explicit encouragement and consent, as a way of bearing witness to their situation but also wanting to document these Nicaraguans’ tragic but politically powerful use of their dying/diseased bodies as rhetorical and political weapons.