USD Magazine, Spring 2004

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18-month span when he lived in various locales along che border, are emblazoned on chick steel places and riveted to the metal fence chat separates the two nations. Instead of installing the places in a central loca- tion, Turounec chose to scrap each place to the S back of a motorcycle, baccle the rugged terrain to get to the spot where the photo was taken and affix it there. The primary audience for his work, he explains, is not the gallery-going patron, but the migrants themselves. "I made these photographs of che migrants for many reasons, " he says, "not the lease of which is so chey can see there are ocher people like chem." The images also are autobiographical, Turounet says, a record of his thoughts as he moved along che border. Presenting che photo– graphs on the steel places is part of chat effort. The medium is his homage to the tintype process of printing an image from a positive direccly onto created metal, a technique chat daces to the dawn of photographic history. For a year and a half in 1997-98, Turounec meandered along the border, living with and caking photographs of migrant workers. He often worked with his subjects over extended periods of time to get the images he wanted, a process char required a creativity all its own.

Art Professor Brings His Pictures to the People

by Timothy McKernan Paul Turouner's photographs are on permanent display at the U.S.– Mexico border, bur art lovers accustomed to exhibitions in parquet– floored galleries are in for a shock when viewing his work. The USD art professor's images of Mexican migrant workers, made during an