The Wellhome photographs are portraits of displaced women, even though at first glance there is nothing to indicate that they are emigrants. The polished setting and careful style could lead us to believe that it is hiding a reality, often presented in a more dramatic and urgent way. Above all in the common photo-journalism tones. However, this project lays out all the thigs that photo-journalism representations tend to exclude from the theme of migratory crisis. These photographs do not only talk about exodus. They portray an unusual connection between emigration and the domestic paradise of the middle class. They may be locking in drama, but on the other hand they suggest a link which is all too often obliterated. Posing in new apartments, next to radiators and brand new beds, these feminie bodies leave behind the victimist code which traps them in a cycle of precariousness. Suddenly all endemic transitionalism has been broken. They have started to occupy the places previously reserved for the dreams of the women.
This is why the fictional quality of the series does not prevent this close relationship with such a real phenomenon as emigration from being maintained.
Carles Guerra
