For the audiovisual installation Kemel, I collected a series of old photos of children sitting on a camel. I knew one such photo from my mother’s album and discovered that similar photos were in circulation in the late 50s and early 60s. The work is a poetic interpretation of this iconic image. The accompanying story is an imaginary impression by a child in one of the photos, and relates how the camel ended up in Belgium as an exotic prop for photographic work. The text presents the camel as an economic migrant who was rendered workless by industrialization and ventured out in search of a better life.