A remarkable photography series by Dutch artist Martin Roemers challenges viewers to consider the deeper meaning behind their choice of transportation. Titled "Homo Mobilis," the project captures individuals and families posed alongside their vehicles against stark white backdrops, stripping away environmental context to focus purely on the relationship between owner and machine. The series spans multiple continents, featuring subjects from Shanghai to Santa Monica, and from Ukraine to Senegal. Through this unique approach, Roemers reveals how even the most ordinary vehicles serve as powerful expressions of personal identity, values, and livelihood.
The photographer employs a technique reminiscent of Richard Avedon's iconic 1985 portrait series "In the American West," where subjects were photographed against neutral white backgrounds to eliminate distractions. Roemers erects massive white fabric screens supported by scaffolding, creating what appears to be an infinite snow-covered field. This method transforms each vehicle—whether a mud-splattered taxi, a rusted family sedan, or a brightly painted ice cream truck—into a sculptural object worthy of artistic contemplation. The isolation forces viewers to examine every dent, paint blister, and patina as intimate details that tell stories of hard work, endurance, and daily struggle.
The collection showcases extraordinary diversity in both vehicles and their owners. In Mumbai, a carpet repairman named Abdul stands proudly beside his weathered Premier car, while in Shanghai, a toy vendor named Xuxing poses with his Mu Ling motorbike. The series includes special forces Lieutenant Maksym from Ukraine with his Toyota, returning from the frontlines, and organic farmer Peter from New York with his dependable Dodge truck. From Senegal's motorcycle taxi drivers to Netherlands' Smart car owners, each image captures a moment of dignity and pride. The vehicles range from handcarts and donkey-carts to campervans and hearses, representing the full spectrum of human mobility across different economic realities.
What makes "Homo Mobilis" particularly compelling is its focus on working-class individuals whose vehicles represent essential tools for survival rather than luxury status symbols. These are not the gleaming Lamborghinis of wealthy collectors or the pristine Mercedes limousines of corporate executives. Instead, they are the dented, reliable workhorses that enable people to earn a living, transport their families, and navigate their communities. The worn interiors and patched exteriors speak volumes about resilience and resourcefulness, suggesting that the true value of a vehicle lies not in its price tag but in its role as a faithful companion through life's journeys.
The project's success raises intriguing questions about what remains unexplored. While Roemers has documented an impressive array of everyday transportation, one wonders how the series might evolve to include other demographics. How would the aesthetic change if it featured suburban parents with their oversized SUVs, or urban cyclists with their customized bicycles? The fact that viewers immediately consider these possibilities demonstrates the project's power. As design critic Stephen Bayley once noted, cars possess a "talismanic quality" unlike any other manufactured object, evoking deep emotional responses. "Homo Mobilis" proves that this allure transcends class, culture, and geography, confirming that we are indeed what we drive.
