The final man left in a Moldovan village: Laetitia Vançon’s finest {photograph} | Artwork and design

This was taken in a village in rural Moldova that not exists. Thirty years in the past, Dobrușa had a inhabitants of 200, and was typical of settlements discovered throughout the nation after the autumn of the Soviet Union in 1991. When this man Grisa moved there in 2000 to start out a sheep farm, the inhabitants had declined to 70. When this was taken, in July 2019, he was the only real resident of the village. He was 65.

Just a few months earlier than I took it, the one different remaining residents – a pair of their 40s – had been murdered by a farmer from a neighbouring village. Their half-naked our bodies had been discovered on the bottom. They’d been crushed to demise. It was a really darkish story and, after this horrible incident, Grisa instructed me he not felt protected dwelling alone there. He was enthusiastic about transferring to a much bigger village.

He had a whole lot of animals so was not utterly alone: turkeys, geese, chickens, pigeons, bees and 120 geese, lots of them within the image. His day started at 4am. When I went to {photograph} him for an task on the agricultural areas of Moldova for the New York Times, I needed to start out the day as he did, at dawn. He provided me a cup of espresso once I arrived – then he introduced me with a glass of wine, which was how he began his day. He would then are inclined to his animals, choose his greens and accumulate his honey, which he offered at an area market. Later, he would return to make meals for himself. He lived a quite simple life. He confirmed me photos of when he was a soldier within the Soviet military.

I don’t know what it’s wish to dwell like this, however in my pictures, I attempt to bridge the hole between totally different locations or cultures. I see pictures as a solution to join individuals, regardless of their variations in tradition, upbringing or social class. I {photograph} intimate moments that supply a glimpse into scenes all of us recognise: a mom waking her youngster, a pair having a stroll in silence, a household dinner or birthday celebration. These very extraordinary moments reveal one thing extraordinary about our shared humanity, its distinctive magnificence. Next month, at my solo present Tribute to Odesa, I’ll current the work I made on task in the course of the battle in Ukraine that exhibits an unseen aspect to the conflict.

Grisa stated loneliness kills you slowly – however he additionally discovered deep pleasure in solitude and quiet. He loved studying books, he had associates who nonetheless came visiting. Grisa had little earnings – he was dwelling with virtually nothing – however there was nonetheless magnificence on this place. He known as it a bit of heaven. He beloved strolling on his land and spending time along with his animals, within the peace and the quiet. So it is a tribute to what one man can do, to the magical place he created.

This was taken on the finish of the day, at sunset. It captures that reflective, charged second, if you pause and look again and realise what you’ve achieved and really feel content material. I might think about the identical second. I believe everybody has these emotions on the finish of the day or the yr. Grisa’s little heaven was revealed in that second.

Tribute to Odesa is at Oxo gallery, London, 11-18 February; vanconlaetitia.com

Laetitia Vançon’s CV

Born: France, 1979
High level: “My Prix Pictet nomination in 2025 for work made in Ukraine – all the hard work for so many years being recognised and acknowledged.”
Top tip: “Be curious. Believe in your intuition and instinct when you have a story to tell.”