Seema Syeda interviews photojournalist Mike St Maur Shiel about his recent project, Fields of Battle, Lands of Peace: 1914-1918.
As the years draw on, the events of the First World War slowly fade from living memory. Scattered across the globe, the battlefields – once witness to the carnage of industrialised slaughter – today rest in relative peace.
We are now well into the centenary of the ‘war to end all wars’, and programmes of commemoration have been rich and varied. But photojournalist Mike St Maur Sheil thinks that, a hundred years on, the way Britain publicly remembers the war ought to change.
‘We have got to start looking at the First World War in a different manner,’ he says, as we sip tea under the awnings of a chic French café in leafy Chiswick. ‘At the moment, it’s all about commemoration, and “our lads” going off to fight.’
But today, if you observe the lands in which countless young men were sent to their deaths, you witness ‘places of great beauty’, where the enduring message imprinted on the now tranquil landscapes is one of ‘reconciliation’.
It is this message that Sheil attempts to capture in his magnificent, haunting photographic work, Fields of Battle, Lands of Peace: 1914-1918. Touring erstwhile theatres of war across the globe in a project ten years in the making, Sheil’s photographs reveal a series of wistful landscapes, deeply scarred by the trauma of war, but now retaken by nature’s graceful silence.
Sheil started his career as a photojournalist documenting Northern Ireland’s Troubles in the 1970s. Prior to that he had been a geography student at Oxford University, where he began experimenting with photography, shooting in black and white with his first camera, a Nikon F.
It was when he met renowned battlefield historian Richard Holmes that his interest in military history really took off, turning the focus of his work to First World War landscapes. Sheil would arrive at his chosen historic sites at the crack of dawn, as it was in this light that soldiers from both sides of the conflict would stand to, alert for the signs of an attack.
According to Sheil, the secret to the perfect shot is getting your hands dirty. ‘We look at the First World War from the wrong point of view: standing up,’ he explains. ‘Most of my shots are taken no more than 15 inches from the ground.’
Sheil’s photos cover the whole gamut of the First World War’s many combat zones, from the muddy, waterlogged fields of Flanders and Ypres to the icy, mountainous terrain of the German borderlands, then away to the Dolomites, the dusty plains of Kenya and the Transvaal, and the dry desert around Jerusalem.
Although these stunning shots have been published in his latest book, Sheil’s main purpose is to bring the work out onto the streets. Fields of Battle, Lands of Peace has occupied a variety of outdoor public exhibition spaces, with the aim of drawing in onlookers who know nothing about the subject.
Sheil is now raising funds for his next project, through which, in conjunction with the Foreign & Commonwealth Office, he hopes to showcase work from more than 50 countries with quotes from each participant nation of WWI about the meaning of war, peace, and reconciliation.
For more information about Sheil’s work, visit www.fieldsofbattle 1418.org. His book, Fields of Battle, Lands of Peace: 1914-1918 (2016), is available to purchase online.