'The Light of the beast': A portrait of migration and displacement

Manchester-born and Mexico City-raised multidisciplinary artist Pablo Allison explores themes of control, reclusion, displacement, freedom, entrapment and migration.

FairPlanet spoke with Allison about his migrant-focused body of work titled The Light of the Beast, a five-year documentation of migrants traveling on freight trains from southern Mexico to the outskirts of Mexico City, where they connect with a network heading to the U.S. border.

FairPlanet: How did your upbringing in both Manchester and Mexico City shape your interest in themes like migration, control and displacement?

Pablo Allison: I have tried to answer this questions a few times, linking a relationship between the place of my birth, the UK, and the place I was brought up in, Mexico. I didn't start to focus my attention on migration due to my past, or at least I am not aware of it like that; I started to work on topics such as control and displacement from my own personal experience - when I was incarcerated in the UK and later in the USA for different reasons. The work related to migration routes in Latin America that I have undertaken since 2017 stems from other personal experiences that had affected me and which I was trying to decipher. 

Migration is central to human experience

What inspired you to embark on the journey alongside Central American migrants on 'La Bestia'? Was there a specific moment or story that sparked this project? 

When I first embarked on this project back in 2017 I had not really planned to pick this topic and transform it into a long-term body of work.

Initially, I was interested in boarding the train and use that medium as a way to understand personal issues I was going through. When approaching hundreds of migrants along the route, I had to photograph their experiences, as they were the protagonists of this tragic story of our century.

Migration has been a constant journey for human beings since our creation. Our instinct as people has led us to move from one place to another in search of prosperity; so I find it absurd when right-wing mentalities castigate or denounce humanity for moving on and trying to succeed.

Can you describe the challenges and experiences you faced while traveling on 'La Bestia' with the migrants? How did you gain their trust and tell their stories authentically?

There are numerous circumstances that make this journey extremely perilous, starting with the fact that freight trains such as these are not designed to be ridden by people. So often people jump on the train without being aware of the risks that they are about to take. The speed at which the trains run at can reach up to 100 km per hour and when traveling atop of the freight, it shakes sideways in such a way that is can kick you off if you don't hold on tightly.

It is also very risky because of petty criminals and organised crime groups that are well-grouped and organised and have made a business out of vulnerable human beings. 

The usual answer I give to people when they ask me how I have been able to immerse myself in this story is answered in one simple word: honesty. Honesty is what will get you very far. 

A search for love

Can you share a specific story about one of these migrants that particularly moved or inspired you?

There is one image I shot that basically encapsulates one of the main elements to this whole long body of work I have produced since 2017 till today. 

I was on the top of the train alongside a few other Central American migrants. There was a couple from Honduras who were traveling with a black dog they named 'negrita,' which had accompanied them since they left their country. They had already been on the road for over a month, more or less. I met them in the city of Torreon, located in the state of Coahuila when we boarded the train together.

After about a day of being together, I woke up in the early morning as the sun was already popping out and hitting the top of the train. I noticed them asleep next to each other with the dog in between them. At that point I took the opportunity to shoot a picture of them when the girl turned her eyes towards me and looked at me with suspicion.

I carried on taking a few more images and then explained to them why I has been drawn to taking a portrait of them like that. I said that it was beautiful to seem them together and protecting each other from whatever adversities along the way.

I also told them that they were extremely fortunate to be together and to know what love meant to them. 

Ultimately, that is what the body of work I have been producing entitled 'The Light of the Beast' is about, a search of love...

How do you address the broader socio-political issues, such as government repression and US border crackdowns, in your project? What message do you want to convey on these topics?

It's not that I have shied away from the political argument of the migration dynamics in this body of work, and I clearly have a political position in my understanding of the forced migration of millions throughout the world who, as those in rich countries, also aspire to have a better existence.

However, my work wants to address the human side of life. Through my images, I mean to present a humanistic approach and expect other people like me who have more opportunities in life to [be more empathetic] with human beings who have not got the same opportunities to more forward.

It is very easy to be enraged and express anger from the comfort of a sofa at migrants coming from war-torn countries or extremely corrupt nations that administer their wealth for the convenience of a few people. But if we understand the circumstances that force so many thousands of people to escape their reality, we would perhaps open ourselves and learn not to be so judgmental.

You have worked with organisations like Amnesty International and ActionAid. How have these collaborations influenced your approach to documenting migration and the stories you tell?

My involvement working in the Central America team at Amnesty International in London provided me with a valuable insight into knowing more about the immediate problems that forces so many people to escape and find refuge elsewhere.

The research I undertook at that organisation helped shape my ideas about the reality of issues regarding human rights abuses in the Central American region, specifically El Salvador, Honduras and Guatemala.

Likewise, ActionAid also gave me insight into issues involving Syria and other parts of the Middle East and Africa. But these work experiences were not motivators in what I ended up doing later as a photographer. 

I have to say that I felt a little tied up at organisations, as I wanted to be more involved in the subject matter and photography has provided me with that chance.

One other important element to mention about my work is that I don't consider myself a photojournalist, as I don't like to work under the strict conventions of observing, photographing and not getting involved. I like to intervene in situations that need a solution - if it's the case.

Looking ahead, are there other projects or themes related to migration and displacement that you are eager to explore? What direction do you see your work taking in the future?

I am currently assessing the possibility to further 'The Light of the Beast' into another longer body of work, also addressing migration routes in Latin America.

I have also travelled to the Middle East several times and have been extending the development of a project I started in 2017 related to urban artists developing their art practice in cities with extreme levels of violence.

'The Light of the Beast' expanded edition is a book published by Beyond the Streets (@beyondthestreetsart). The book can be purchased here. 

Image by Pablo Allison.