There is a very focused skill set that documentary photographers develop. You have to know and understand your subject as well as those immersed in it. You have to work quickly, responding to events and people at a fast pace. You also have to roll with conditions that occur around you while doing your best to immortalize the best photograph you can make. While jurying Critical Mass and perusing the CENTER Awards winners for 2020, I noticed the work of Ada Trillo and her project, La Caravana Del Diablo. This work checked off all of these boxes and more for me. Not only that but after spending more time with the work and the reasons for making it, I realized how much better informed I was about a situation that I thought I’d already understood fairly well. It takes work as deep and thoughtful as this to truly educate people about the events that our own news media fails at time and time again. It also takes a fully realized body of work to create beautifully rendered photographs of even dire and desperate situations - so much so that you want to come back to the work again and again.

The travels and time spent with the Honduran people seeking asylum have been astonishingly presented in this work. The toll caused by the Trump Administration policies is staggering and is continuing to unfold. A brief excerpt from her statement on this work reads:

“Trump has effectively barred asylum seekers from entering the US by threatening to impose tariffs and cut foreign aid to Central American countries. The human cost of Trump’s political agenda is denying people their fundamental human rights. For many asylum seekers, deportation will result in living a life of extortion, impoverishment, and even death. The full effect of Trump's xenophobic policies toward immigrants and asylum seekers will no doubt be felt for generations to come.”

There is so much to unpack in even this short description. With so much disinformation out there it takes a project like this to find out what is really happening. And not just some set of facts, but stories and faces, full of emotion, of the people that these policies affect. So with this, I had a great many questions for Ada Trillo. My sincere thanks to her for making this work, and also for taking the time to help us better understand the events and people she documents.

Bio -

Ada Trillo is a Philadelphia-based photographer, native to the Juarez-El Paso binational metroplex. In her work, she focuses on borders of inclusion and exclusion as they are experienced through people in forced prostitution; climate and violence-related international migration; and US exclusions, resulting from long-standing borders of race and class. Through the elements of documentary and fine art photography, Trillo’s goal is to bring attention to the impact that these borders have on exploited and marginalized people and amplify their voices. She utilizes photography as a platform to document our times by capturing both our most joyous and painful moments; This art has the power to lay bare our common humanity and dignity. Recently featured in The Guardian, she is the recipient of a Leeway Foundation Art and Change Grant , The Center For Emerging Visual Artists Fellowship, and Fleisher Art Memorial Visual Artist-in-Residence. She has also been awarded First Place in Editorial Photos with the Tokyo International Foto Awards, The me&Eve Grant with the Center of Photographic Arts in Santa Fe, and First
Prize of Focus Photo LA. Trillo has exhibited internationally in Luxembourg, England, and Italy, and her work is included in the permanent collection of the Philadelphia Museum of Art. She holds degrees from the Istituto Marangoni in Milan and Drexel University in Philadelphia.

Interview -

Michael Kirchoff: My sincere thanks for allowing me this time to investigate your work and process, Ada. How did photography, particularly documentary photography, enter into your life, and what or who were your earliest inspirations?

Ada Trillo: Thank you for having me, Michael.

Since I was young, I’ve been a fan of Mary Ellen Mark’s photography. I’ve always admired the emotion and composition of her work. However, my journey with photography is recent--and a bit by chance.

My ex-husband gifted me a camera in 2009. We frequently travelled abroad, so naturally, I started with travel photography. Though I loved taking pictures of natural landscapes and elephants, I was primarily fascinated with the different peoples we encountered. The meeting the Maasai tribe, in particular, was a significant motivator for my photography journey. Their culture was so rich with history and color--a vivaciousness I’ve never seen before. After speaking to different members, I desperately wanted to learn more.

MK: I wanted to commend you on giving voice to the plight of those you choose to document. What do you feel is the long-term goal for La Caravana Del Diablo, and what do you hope to achieve by raising awareness?

AT: My only goal for La Caravana Del Diablo is to inspire other people to empathize with, and advocate for, Central American migrants and asylum seekers. This is a humanitarian crisis My hope is that viewers will understand the power and rationale behind their voting processes. A politician’s decision, and opinions, can rapidly worsen the lives of non-American citizens as well as Americans. It’s easier to disassociate when you’re not looking in the eyes of the impoverished, as they suffer from violence and death threats. I’d love for viewers to seek out officials who will treat migrants humanely and create fair laws for asylum seekers. What we have now under this administration is not fair. A perfect example of this would be the remain in Mexico policy. There are good men, women, and children trying to flee for their lives, at this moment. They are people with complex struggles and stories. It is a basic human right to fight for your life; They shouldn’t be demonized for trying to live.

MK: You were recently recognized by CENTER and awarded the me&EVE Award for La Caravana Del Diablo. How has this assisted in providing awareness, and does it also help you parlay the recognition into further acceptance and exploration of your project?

AT: The recent recognition has definitely assisted this cause. They have helped to expand the audience of this series, in ways I could not have done on my own.

I’m located on the East Coast, Philadelphia specifically, and primarily show within the area. With their outlets, a new demographic of viewers has been generated in the South West and countless other locations. That means more awareness and opportunities to change this crisis for the better.

MK: You’ve been documenting migrant caravans for a few years now, and have built multiple bodies of work on the subject. What was the impetus that started these projects?

AT: These projects began when Donald Trump spoke against the Central American and Mexican communities during his candidacy. He claimed that Mexicans, and Central Americans, were criminals--murders, and rapists. I know, from first-hand experience, this is far from true. His accusations were offensive, inaccurate, and infuriating. Beyond that, his expansion on border policy and threats against other governments have actively affected countless lives.

MK: In looking through the vast number of images you have created for your projects, it seems that there must be times that this all feels quite overwhelming to witness. How do you handle the emotional toll it takes on a person in your position, especially being so deeply embedded into their journey?

AT: Mental health is extremely important to me because when I’m with the migrants I have to stay strong. Staying stoic is crucial to connect with the migrants. If I cry, they might think I’m feeling sorry for them, rather than empathetic. “Sorry” is not something I want to convey. They are trying to progress with their lives; I can’t cry every time they are open with me about their pasts. That, in my opinion, is offensive. So, I can’t break.

However, when I return home, I definitely cry. When I scroll through the photos, I must admit it is painful. Thankfully, I have a great therapist.

MK: What lengths have you had to make to earn the trust of those you’ve traveled with in the caravans while making your photographs? Has your appearance with them generally been welcome?

AT: Whenever I encounter someone new, I am very open about my project, who I am, and what I’m doing. The people of the caravans are, generally, understanding and open to the concept.

As I walk alongside the migrants, I’m seen at all times. We travel, sleep, and eat together; Trust is built quickly. If you commune with the people you’re photographing, they’ll be more authentic--because you are.

I prefer to operate this way because the images will be organic. For instance, one of my images, “Ashley”, was taken when I crossed paths with her while washing clothes.

The best part about being close to the migrants, is that I’ve built life-changing friendships. Thanks to social media, I’ve kept in contact with them. They’ll call me to share life updates, and some stories of what happened after we parted ways.

MK: What can be done to change the current policy (if anything) and be able to offer some sense of hope for those looking to escape in search of a better life? Are there resources we should know about to offer assistance?

AT: I’d love to see the reversal of Trump’s Remain in Mexico and Third Party Country Agreement policies. Asylum seekers are, currently, forced to stay in Mexico; It’s not the safest country. Some of the border Mexican towns are controlled by cartels. A portion of cartel profits is generated through kidnapping. Which, the Central American migrant, can fall prey to. A kidnapped migrant is worth $2,500; The cartel will locate the hostage’s family and require the funds to be paid, otherwise, they’ll murder the victim.

The Agreement forces migrants to apply for asylum in every country encountered en route to Mexico. The moment you land in a new country, you must apply for asylum before heading into the next; And this process is repeated.

Neither Guatemala or Mexico are the safest countries. Migrants must apply for asylum in states with similar situations, from which they were fleeing.

If we abolish these policies, we can assure them the human right of safety.

MK: What has been the most significant change, for better or worse, that you have witnessed since starting this project?

AT: Definitely for worse. Mexico has closed its doors to Central American migrants, due to Trump's extensive threats of raising the cost of tariffed goods from the country. Prior to the current Mexican president’s term in office, Mexico had an open door policy. The country was so accommodating and hospitable to the migrant community. However, the former border policy has, since, been abolished.

In response to Trump’s threats, President Andrés Manuel López Obrador, has established La Guardia Nationale to combat migrant movement. Ultimately, they want to establish a strict border.

MK: One cannot help but see that you are putting yourself in situations that pose a great danger at times. What have you had to do to protect yourself in these situations, if anything?

AT: I don’t do anything, I’m street smart. When I was in the caravan, a cop tried to rape me, but I was able to escape.

I always go into the mission recognizing that the migrants are good, hard working people--just impoverished. Being poor does not equate to a bad person. That positive mindset is what keeps me afloat.

The trick is to always stay together; “Safety in Numbers” is the philosophy of a functioning migrant caravan. No one travels alone, not even to find a bathroom. If I, let’s say, needed to momentarily walk away from the group, member’s would insist on traveling with me.

MK: Much of the political rhetoric that surrounds the caravans, center on the made-up notion that keeping these asylum seekers away is because they bring MS-13 gang members into the United States. I grew up and have lived most of my life in Los Angeles, California, and simply put, call bullshit on this point. This is a gang that was born in the United States, and I find it baffling that this fact has not been addressed more strongly. My question then is, have you witnessed this for yourself and found it to be true, and how do people learn the facts about what is really happening?

AT: There’s a lot of people who believe it, but that’s not the case. The issue is, MS-13 was formed in L.A., and members were deported during the Clinton era. It’s a problem that we helped to create.

You have to look at international news, and multiple sources of media. If all you’re watching is, FOX News for example, you won’t have the full story. Watching multiple outlets helps. Don’t be afraid to Google Translate news sources from the countries involved. Also, see if the reporters are actually reporting “on the ground” or “on-site”.

MK: How can the power of a photograph make a significant change for the better in regards to the social injustice we are witnessing in your work?

AT: The photographs and videos are made to show what's there. This isn’t a poetically written essay. It’s a blunt truth. Through proper documentary, one can show people what’s really going on.

MK: What is it that makes for a successful photograph?

AT: Something that conveys feeling. If you see a photograph and you feel something--it doesn’t matter if it follows the proper theories or rule of thirds. If you feel something, that makes you feel and connect the humanity around you, then it is good.

MK: Do you study what others are doing, and do you find their influence in your image-making?

AT: No, I’m self-taught. I do have a reference of photographers because I study photography theory and history, on my own time.

However, in the field of documentary, everything flows organically.

MK: A notable aspect of the majority of your work seems to be that you primarily photograph in black and white. Was this strictly a creative choice or one born of the feeling you are trying to convey with your images? Is color ever a necessity in any of your photography?

AT: It was a creative choice. I wanted people to focus on the eyes and the emotion--not the vivid colors of Latin America that surround them. If a woman is sitting on a bright pink blanket, you won’t be as drawn to her face.

MK: Let’s finish this interview with what we might find from you in the future, and also ask if there is anything else you would like to add? What’s next for you - any new projects you have in the works?

AT: I see myself as continuing my work on human rights projects that deal with inequality. I feel like I have been very fortunate in my life, and I feel like my work is a way of giving back.

You can find more of Ada’s work on her website here.

All photographs, ©Ada Trillo