In a powerful display of artistry and storytelling, the Western Illinois University Department of Art and Design is currently hosting an exhibit that brings to life the harrowing realities of crimes against humanity. Titled “The Caesar Files: War Crimes in the Digital Age,” the exhibit features paintings that serve as recreations of photographs taken by an individual known only as Caesar, shedding light on the atrocities committed within Syria.
Caesar, a former medical photographer for the Syrian government, risked his own life to capture tens of thousands of photographs depicting the horrifying torture and death of men, women, and children in Syrian President Bashar al-Assad’s regime-run prisons. A decade ago, he smuggled these damning images out of Syria, with a singular purpose – to expose these heinous crimes to the world. To this day, Caesar’s true identity remains shrouded in secrecy.
The art exhibit, which serves as a poignant testament to these unspeakable acts, is curated by artist Marc Nelson, who uses his skill to translate the digital images into poignant works of art. Nelson’s inspiration for the exhibit stems from the stark reality of the digital age, where such crimes are accessible to anyone through social media and the internet.
Nelson stated, “The art I’ve been making is based on digital images that I have seen flash before me – like everyone else – on social media. The war crimes being committed by Putin in Ukraine and by Assad in Syria are there for anyone to see. So ‘War Crimes in the Digital Age’ is about crimes that are 24/7 at your fingertips, which is a weird reality to live in.”
The exhibit, displayed in the Annex Gallery at WIU, offers a haunting and thought-provoking experience, allowing visitors to contemplate the grim subject matter. Nelson, who teaches art to fourth through eighth-grade students in Kewanee, also educates his students about the Holocaust through graphic novels and other educational means. He holds a teaching certificate in Art Education from WIU, and his commitment to social issues and art has been evident throughout his career.
The paintings showcased in “The Caesar Files” exhibit are recent creations that fill the single-room gallery. Nelson worked diligently to produce them swiftly. When asked about his approach, he explained, “I can’t spend too much time with a painting. My wife will tell you that if I spend too much time, I start getting really stressed about it, and I don’t ‘feel’ it anymore.”
Despite the grim subject matter, Nelson emphasized the importance of spending time with these images, both for himself and his audience. He aims to connect with the images on a profound level. Nelson said, “I don’t want to simply scroll by these images on social media. I don’t want to just see them and move to the next thing and move to the next thing. I want to sit with an image. As horrible as it is, I want to sit with it.”
The slow and deliberate process of creating these paintings allows for a deeper connection with the images. Nelson’s work has been utilized by news agencies, Amnesty International, and other organizations in recent years to help explain the situation in Syria. His unique approach, which incorporates abstraction, has been instrumental in circumventing censorship algorithms on social media platforms, enabling these images to reach a wider audience.
While digital media and technology play a significant role in today’s world, Nelson believes in the enduring power of analog forms of art. He also firmly believes in the role of artists in engaging with and responding to the world’s most pressing issues. “I feel like that’s something artists should do – respond to the age they live in. That’s something I try to teach my students. Art should be an integral part of the world conversation,” he declared.
“The Caesar Files: War Crimes in the Digital Age” is a poignant reminder of the importance of bearing witness to the world’s atrocities, even in the digital age, and the enduring power of art to convey the profound and the painful. The exhibit will remain open to the public at the Annex Gallery at WIU until November 17.
