David Pace

David Pace is a Bay Area photographer and curator. He received his MFA from San Jose State University in 1991. He has taught photography at San Jose State University, San Francisco State University and Santa Clara University, where he served as Resident Director of SCU's study abroad program in West Africa from 2009 - 2013. Pace photographed in the small sub-Saharan country of Burkina Faso annually from 2007-2016, documenting daily life in Bereba, a remote village without electricity or running water. His work has been exhibited internationally. His African photographs of the Karaba Brick Quarry are featured in the 2019 Venice Biennale in a group show entitled "Personal Structures" organized by the European Cultural Center. His book Images In Transition, a collaboration with gallerist Stephen Wirtz, was published in the spring of 2019 by Schilt Publishing.

"Through my photography I want to express to a broad audience what it's like to live in West Africa. The Western media typically shows only the negative side of life in Africa, highlighting war, famine, genocide, and illness. This perspective is newsworthy but it is incomplete and misleading. It fails to capture the richness and complexity of life in small villages where a large percentage of West Africans live and work. Most live simple, meaningful lives. My photography in the remote village of Bereba and the surrounding region portrays a story of life in the community that is largely positive. My work projects a view that may be at odds with the more common perspective, but is no less accurate or realistic. I am committed to communicating the realities of life in West Africa to challenge the negativity that too frequently pervades the images we see."
David Pace

About Sur La Route

David Pace: Hawkeye

By David Pace, Diane Jonte-Pace, Ann Jastrab

Publisher : Publisher : Schilt Publishing

2021 | 112 pages

"Load right, aim sharp, and shoot well. The satisfaction of good pictures will be your reward." – Brownie Hawkeye Instruction Manual, 1959.

"This is the first picture I took in my life. Roll 1. Frame 1. The Hawkeye has a fixed focus lens and no F-stops so I can’t take credit for the exposure. But I’m proud of the composition. I realized from that very first experience that I could speak though images. I became a photographer that day." – David Pace, 2020, sixty years after taking his first photograph at age eight.

This rich archive of Brownie Hawkeye photographs tells both a personal and a cultural story. The photographer, David Pace, just eight years old when the first photographs were taken in 1959, captured family life at church, at home, at school, and at work in post-war America. Without consciously intending to construct a narrative of cultural change, the young photographer recorded the decline of an agricultural economy and the expansion of a new economy of consumer products, in which subdivisions replaced cherry orchards, and car dealerships replaced walnut trees. The photographs capture an important moment in the pre-history of one of America’s most iconic locations: Sunnyvale, California, the heart of what we now call Silicon Valley. The neighborhood where David photographed family and friends with the Brownie Hawkeye is now the site of technology giants Apple, LinkedIn, Google, and Nokia. The young photographer, with his ability to “speak through images,” left us a set of powerful Hawkeye photographs that narrate a story of the origin and history of Silicon Valley.

Images in Transition

By David Pace

Publisher : Publisher : Schilt Publishing

2019 | 136 pages

David Pace and Stephen Wirtz manipulate and transform wirephotos transmitted during World War II. Beginning with an extensive collection of originals assembled by Wirtz over a period of many years, they scan the images, radically re-cropping and dramatically enlarging portions of the archival wirephotos. Their croppings and enlargements expose the artifacts of the wirephoto technology - the dots, lines, irregularities and retouchings from the war years.

But the transformations introduced by Pace and Wirtz not only extend, but also reverse, the intentions of the wartime retouchers: Instead of obscuring the dots and lines to create a clearer image, Pace and Wirtz reveal and enhance the dots and lines, exposing the technological processes that produced the images. Instead of retouching the images to create an illusion of reality, they make visible the manipulation of the images that were published as news. Instead of enhancing the content to support a narrative of just war and ethical victory, their dramatic enlargements transform wartime content into near-abstraction, creating a subtle counter-narrative. By exposing the artifacts of wirephoto technology and the actions of the human hands that retouched the images, their work highlights, transforms, and subverts the intention, the content, and the process of these wartime photographs.

David Pace

Website

www.davidpacephotography.com

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