Ebrahim Noroozi
One of seven photographs from the series The Lake on its Last Legs, 2016, Digital print on Epson Hotpress Natural cotton rag, 80 x 120 cm, The National Museum of Asian Art, Smithsonian Institution, Washington, D.C.; National Museum of Asian Art Collection Purchase — Jahangir and Eleanor Amuzegar Endowment for Contemporary Iranian Art, S2022.6.1.1, ©️ Ebrahim Noroozi, courtesy of Silk Road Gallery and the artist
The World Unmade
Commentary by Eric C. Smith
Revelation has a knack for telling the story of social disintegration as a tale of the destruction of the natural world, and vice versa. Revelation imagines the unravelling of both of these worlds as intertwined; economies and politics and class distinctions dissolve alongside the sky, the earth, and the water, with the world ‘rolling itself up’, as the text says in 6:14, ‘like a scroll’.
Ebrahim Noroozi series The Lake on its Last Legs documents the decline and disappearance of Lake Urmia in his native Iran. Once a large saltwater body, the lake has diminished through cycles of shrinkage and expansion due to drought, water diversion for agriculture, and damming. Noroozi shot this series at one of the lake’s recent nadirs, in 2016, when the surface area of the lake was about a tenth of its natural extent, and the water was never too deep to walk across.
In his Urmia compositions, Noroozi is always careful to include the human and the natural alongside each other, showing both the human appreciation for the lake and the human causes and consequences of its demise. In this photograph, a fishing boat sits abandoned and corroding on the dry lakebed, encrusted with salt and melting slowly back into the earth.
The opening of the sixth seal in Revelation 6:12–17 unleashes the unmaking of human and natural worlds. An earthquake, a blackened sun, a blood moon, and falling stars upend long-held certainties, and cause everyone—kings and generals, enslaved and free alike—to flee and hide. In the Anthropocene, it is anthropogenic and not divinely sent destruction that threatens the world, and the effects are not always experienced equally by ‘the rich and the powerful and everyone’, as 6:15 puts it. Some of the ‘everyone’, everyday people and especially people on the underside of power structures, are more susceptible than ‘the rich and the powerful’ who have amassed the resources to endure. But as is the case in both Revelation 6 and this series of photographs by Noroozi, the story of climate apocalypse will always be an intertwined story about both the natural world and the human beings who rely on it and help to bring about its destruction.
References
Noroozi, Ebrahim as told to Kieran Morris. 2019. ‘On Its Last Legs: Otherworldly Photos of a Dying Lake in Iran, March 13, 2019’, www.vice.com [accessed 4 April 2024]