This Is a Long Drive for Someone with Nothing to Think About

I had come back to my hometown (which I always refer to as “home home”) in July expecting to stay for a couple weeks, but ended up not leaving for another three months. The power in my Brooklyn apartment kept going out and my anxiety was hitting its peak, so seizing the opportunity to change my environment, mostly for the sake of having Internet access to do my job, was the move. But for months before that, when dozens of people I knew were heading home to their families, I was firm in my decision to not go back to Sicklerville.

Part of this is because three people in my family passed away within the first four months of quarantine. One from COVID, one from cancer, and one in his sleep from a number of health complications. And I guess when you get call after call after call, the last place you want to go is where the calls are coming from. I am a master of being hyper-productive to the point of burning out, but dragging my body along to keep going, all in an effort to keep my mind distracted. My mom would call and I started to end the conversations more quickly with, “I have to go back to work,” or “I have a lot to do,” or “There’s something I have to finish up.” Maybe I can’t be delivered bad news if my palms aren’t open to receive it. I still think about whether these months’ worth of avoidance was an act of selfishness or self-preservation.

I’ve also just spent a lot of my adult life avoiding coming back to the house I grew up in, and when I do I keep it brief, a weekend for my mom’s birthday, a week tops for a holiday. I won’t go into the reasons for that but I will say that being home for this long for the first time in years was more of an exercise in seeing than I had anticipated. I was reminded that when you’re around to look long enough, your eyes adjust. You see more of the details as they are, notice the subtleties of an aging monument. For me, where I’m from is where I started, and the place where I started changed while I was away, too. And yes, there are still many things that stayed the same, some more of a detriment than any benefit. And on the days that I’m lucky, I realize that not every bad memory of a place has to repeat itself just because I’m there. On the days that I do the work, I see more of the details as they are. Like the lines near my mamita’s eyes when she talks about how she prayed the rosary every night before my cousin passed. Or the way my brother wipes down every grocery because no matter what the CDC says about how the virus spreads, he’ll do what he can to keep our parents safe and healthy. Or what it looks like to have longer conversations again with my family, my palms outstretched in the act of it, yet not receiving bad news in return. I won’t always receive bad news in return.

The longer I stayed, the more my eyes adjusted, and that’s why I spent more time at home home than I had planned. And I’m glad I did. I don’t know how many opportunities I have left to do so. So I made as many photos as I could throughout the three months, mostly of what’s changed, but may not be easy to notice. I don’t know if my view of this place will shift, or how much more of my hometown will transform before I realize it. So I wanted to document what I could, taking notice of all the subtleties of this aging monument while my eyes were adjusted.

Chelsea Pineda

Chelsea Pineda (she/her) is a photographer and filmmaker based in New York City. She specializes in concert and documentary photography with an aim to capture music and youth culture. Chelsea’s portfolio includes some of the earliest live photography of today’s biggest and most influential artists — including Migos, SZA, Billie Eilish, Lizzo, Kevin Abstract, Phoebe Bridgers, and many more.

Her photos have appeared on Billboard.com, BrooklynVegan, Business Insider, and she was recently a photographer for Webster Hall. She’s currently a senior video producer for Business Insider's lifestyle division, Insider.

https://www.chelseapineda.com
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