In “I’ll Let You Be in My Dreams If I Can Be in Yours,” published by the always intriguing MACK Books in September of last year, the photographic partnership of Carolyn Drake and Andres Gonzalez unfolds a captivating visual dialogue that gracefully sidesteps the well-trodden paths of conventional documentary photography. This 144-page volume is the tangible outcome of a five-year collaborative immersion (2018–2023) along the often-fraught U.S.–Mexico border. However, rather than delivering a predictable, didactic narrative about a region so often reduced to simplistic political rhetoric, Drake and Gonzalez offer something altogether more nuanced: a poetic and deliberately fragmented portrait of these borderlands, a space they vividly depict as fluid, undeniably alive, and stubbornly irreducible to any singular, easily digestible story. Through their beautifully intertwined perspectives, these longtime partners in life and art weave a rich tapestry of images that oscillate between moments of apparent spontaneity and carefully considered intention, compelling readers to fundamentally reconsider their preconceived notions of identity, the complexities of human connection, and the very essence of place.

The book opens with a quietly evocative line: “In the morning, we dash along the sidewalks, you on your side, me on mine, watching as people cross the busy street.” This sets the tone for a work that feels as much about the shared act of seeing, the intimate dance of two perspectives, as it is about the specificities of what is seen. The U.S.–Mexico border, a sprawling 2,000-mile expanse inhabited by over fifteen million souls, is so frequently framed within mainstream media as a stark line of division, walls, checkpoints, and an ever-present sense of conflict. Yet Drake and Gonzalez choose a different path, capturing instead the resilient, everyday rhythms of life that persist within this complex space: the strains of music drifting across the perceived divide, children making their daily crossings to attend school, the subtle trails of wildlife threading their way through seemingly impenetrable barriers. Their images collectively reveal a border that breathes, a dynamic place where the imposed separation is continually defied by the enduring persistence of both human and natural connection.

What makes this photobook so genuinely remarkable is its resolute refusal to conform to the often-rigid expectations of traditional documentary photography. There are no explanatory captions to guide you, no overarching essays to interpret meaning, and no explicit markers of individual authorship or precise geographical location. Instead, the photographers present a carefully considered sequence of image pairings, sometimes seemingly shot mere seconds apart, other times from wildly divergent angles and perspectives – that intentionally invite the viewer to actively participate in piecing together the unfolding story. A woman’s hand appears in one frame, then her shoulder in the subsequent one; shadows stretch languidly across a seemingly ordinary street corner in near-identical compositions, subtly hinting at the proximity of the two artists as they worked. This deliberate shot/reverse-shot technique, so reminiscent of cinematic storytelling, elegantly blurs the often-distinct lines between individual perspectives, ultimately creating a shared visual language that feels simultaneously deeply intimate and yet tantalisingly elusive.

The very act of collaboration itself emerges as a central and compelling theme within the book. Drake and Gonzalez, partners in life for two decades, bring their own distinct and individual approaches to their shared craft. Drake has described her creative process as a flurry of interconnected ideas that often require careful sorting and refinement, while Gonzalez tends towards a more deliberate, slower, and quieter method of observation and capture. This inherent creative tension between them, navigated through constant dialogue, mutual understanding, and inevitable compromise – subtly mirrors the borderlands’ own inherent complexities and the constant negotiations of identity and belonging that occur within this space. “This project was all about leaving room for the other person’s ego or experience to exist alongside our own,” Drake astutely notes. The resulting photobook ultimately feels like an ongoing conversation, one where neither voice attempts to dominate the other. By deliberately withholding attribution for individual images and treating the border as a unified and interconnected region rather than a rigidly bifurcated entity, they underscore a fundamental philosophy of interdependence and shared experience.

The rich tapestry of personal histories of migration subtly enriches this unique collaboration. Gonzalez’s family has a long history of migration from Mexico to California’s Bay Area spanning generations, while Drake’s ancestors journeyed westward across the United States via the historic Oregon Trail. These deeply personal lineages subtly inform their work, not as overt or explicit narratives, but rather as quiet undercurrents that gently ripple beneath the surface of the images. A striking photograph of intricately interwoven textiles on the cover of the book serves as a powerful visual symbol of this blending of backgrounds, suggesting that identity itself, much like the borderlands they explore, is a complex fabric woven from overlapping and often diverging threads. In this way, the book becomes a profound meditation on the intricate ways in which personal and collective histories intersect, diverge, and ultimately, inevitably coexist.

Visually, “I’ll Let You Be in My Dreams” is a masterclass in subtlety and quiet subversion. The photographers astutely employ artificial lighting – strikingly evident in an uncanny image of a black-robed figure flanked by the unexpected glow of cordless studio lights – to inject a palpable sense of the surreal into otherwise seemingly mundane scenes. This intriguing interplay between natural and deliberately staged elements subtly mirrors the borderlands’ own inherent duality: a place of raw, often harsh reality existing alongside constructed myths and political narratives. A pair of pigeons perched on a vibrant blue awning, a delicate lacy white fabric framed and leaning against a chair in a distinctly “museum” context, a twin floral portrait imbued with a dreamlike multiple-exposure effect – these are just some of the enigmatic images that tease at meaning without ever fully resolving it, inviting contemplation rather than demanding a singular interpretation. The very final photograph in the book, a beautifully superimposed floral composition, feels like a deliberate act of anticlimax, consciously rejecting the urge to tie the complex narrative into a neat and easily digestible bow.

This very indeterminacy is, in fact, the book’s considerable strength. Unlike the pursuit of the singular “decisive moment” so often championed by traditional photojournalism, Drake and Gonzalez embrace a compelling sense of ambivalence. Their images don’t attempt to freeze a fleeting moment in time; instead, they subtly suggest movement, constant change, and the inherent impossibility of capturing any singular, definitive truth about such a complex and multifaceted region. This artistic approach aligns perfectly with their stated intention to deliberately avoid constructing a linear or easily resolved storyline. “We knew what we wanted to do from the beginning,” Gonzalez has explained, astutely emphasising that their overarching vision for the project evolved organically through their shared experiences and ongoing dialogue rather than through any single, sudden epiphany. The resulting work ultimately feels refreshingly open-ended, gently asking readers to linger within its inherent ambiguities rather than seeking any easy or definitive resolution.

The intriguing title itself, borrowed from the poignant final line of Bob Dylan’s “Talkin’ World War III Blues,” and carries a resonant double meaning within the context of the book, also Bob is one of my all time heroes. In its original context, the line reflects a playful sense of reciprocity amidst the pervasive paranoia of the Cold War era. Here, it evokes a tender sense of mutuality and shared humanity against the often-stark backdrop of contemporary border politics, the increasingly prevalent rhetoric of “invasion” and growing militarisation that stands in such stark contrast to the nuanced humanity that Drake and Gonzalez so carefully and respectfully uncover in their images. Their photographs ultimately celebrate connection: between the two artists themselves, between the diverse communities they encountered, and across the very borders that are so often presented as insurmountable divides. A weathered rancher with a distinctive copper ring slung casually over his shoulder, a woman gracefully balancing both a young child and a delicate vase of vibrant flowers – these fleeting figures, captured with a keen eye for the everyday, embody the quiet resilience, the enduring creativity, and the persistent humanity that thrives within these often-contested borderlands.

Yet, the book is not entirely without its potential challenges for the viewer. For readers accustomed to more explicit narratives or readily available contextual grounding, its deliberate opacity might initially prove somewhat frustrating. The complete absence of captions or any other form of explanatory text demands a more active and engaged form of viewership, a willingness to surrender to the often-subtle rhythms of the images rather than attempting to dissect them for immediate meaning. Some viewers might also question whether this level of abstraction inadvertently risks romanticising a region that is undeniably marked by real and often profound hardship. However, Drake and Gonzalez deftly sidestep any potential for sentimentality by firmly grounding their work in the tangible realities of everyday moments – moments that stubbornly resist easy reduction to simplistic narratives of either unremitting tragedy or triumphant overcoming.

At its very core, “I’ll Let You Be in My Dreams If I Can Be in Yours” ultimately feels like a serious and deeply thoughtful act of artistic play. It subtly subverts the often-heavy solemnity so frequently associated with photography focused on border issues, offering instead a puzzle-like experience that invites a sense of quiet delight and intellectual engagement as much as profound contemplation. The collaborative process itself – two distinct photographers wrestling with a medium traditionally built for a singular vision – subtly mirrors the borderlands’ own complex negotiations of identity, belonging, and the constant push and pull of opposing forces. “Cameras have only one viewfinder,” Drake astutely remarks. “Forcing the medium to be collaborative felt like turning it against itself. But that’s kind of why we did it.” This inherent tension ultimately fuels the book’s unique energy, making it a rare and compelling photobook that feels both rigorously conceived and surprisingly enjoyable to navigate.

For those readers willing to fully embrace its inherent enigmas and resist the urge for easy answers, this work ultimately proves to be a genuine revelation. It reimagines the border not as a stark line of division but as a vibrant, living space where differences inevitably collide, adapt, and ultimately, often unexpectedly, coexist. Drake and Gonzalez have collectively crafted what feels like a profound and multifaceted love letter – to each other as creative partners, to the often-misunderstood borderlands themselves, and to the boundless possibilities inherent within the photographic medium. In a world that often seems quick to build walls, their shared dream, so beautifully rendered in these evocative images, offers a powerful vision of openness, a poignant reminder that connection can indeed thrive even in the most contested and seemingly divided of spaces. At its generous 9×11½ inches, with its tactile embossed jacket and the carefully considered rhythm of its image sequence, the physical book itself feels like a tangible artifact of that shared dream – intimate, enduring, and deeply resonant.

Regards

Alex