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A child stumbles, smiling. He's been sniffing glue. He is\r\none of the street children of Manila. Through the window of a car, a Libyan\r\nteenager stares into the distance. Gaddafi's army is approaching. The teenager\r\nis fighting for the first time. In Central African Republic, a woman appears to\r\nbe faltering. What pain afflicts her? Traveling the world and its crises,\r\neither on assignment for major international magazines (Time, National\r\nGeographic, Le Monde) or for his personal work, French photographer William\r\nDaniels seeks out imbalance, tension, implosion. An image, for him, informs and\r\nsuggests. It goes beyond the immediacy of the actual conflict and resonates\r\nlong after.<\/p>
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In 2007, William received the Jean-Luc Lagard\u00e8re Foundation\r\nFellowship, allowing him to document the nascent and fragile developments\r\ntoward democracy in Kyrgyzstan. His work on the country culminated in the book\r\n\"Faded Tulips\". Over a series of visits, William tried to understand\r\nthe effect this ephemeral revolution had on those who fought for it, lived it,\r\nendured it. His study of the country offers a unique perspective on the\r\nstruggle for democracy in a distant and little known country, a struggle\r\nrepeated the world over.<\/p>
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In 2008, his reportage on malaria, \"Mauvais Air\",\r\nphotographed in seven countries and exhibited in September 2008 on the Pont des\r\nArts in Paris and in the European Parliament in 2011 is published as a book by\r\nImages en Manoeuvre. His work on crises and suffering naturally led him to\r\nconflict zones. In Libya, he covered the uprising against the Gaddafi regime\r\nuntil the fall of Tripoli. From 2013 onwards, William has been covering the\r\nCentral African Republic. On six journeys to the war-ravaged country, he comes\r\nacross appalling violence. Without any attempt at diluting the reality of war,\r\nhe chooses to show ordinary people - vulnerable, abandoned, set upon. What will\r\nbecome of them? What will happen to this country that seems doomed to permanent\r\ninstability? His photography constantly poses questions, highlights a tension\r\nin the reality before him. There is often a sense of being on the verge of\r\ncollapse. In 2014, on the occasion of the \"Nuit Blanche\" in Paris,\r\nWilliam exhibited a 100 meter long display of images from the Central African\r\nRepublic along the Seine.<\/p>
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Since 2013, with support from National Geographic and with a\r\ngrant from the CNAP (National Centre for Visual Arts), William has made a\r\nnumber of trips to the Russian Far East, on the Baikal-Amur Mainline (BAM)\r\nrailway. The BAM charts a lonely course north of and parallel to the\r\nTrans-Siberian Railway. Its construction attracted huge numbers of workers from\r\nall over the Soviet Union in its heyday. Many of them were left behind when the\r\nproject faltered and was curtailed.<\/p>
<\/p>\r\n
His work has won numerous international awards including two\r\nWorld Press Awards, the Visa d\u2019Or Humanitarian Award at Perpignan photo\r\nfestival, the Tim Hetherington Grant and the Getty Grant.<\/p>
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William Daniels lives in Paris and is represented by Panos\r\nPictures (London, UK)<\/p>\r\n
Biography written by Vincent Josse, journalist at Radio\r\nFrance<\/p>\r\n\r\n
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