A photographer and video and installation artist, Willie Doherty explores the histories embedded in specific terrains, frequently returning to the subject of his native city of Derry, a locale in many ways defined by decades of fraught political conflict in Northern Ireland. Doherty’s early work often overlaid images with words and phrases, and incorporated pictures from media coverage of “The Troubles” in Northern Ireland, suggesting the slippery meaning underlying an image. In other works he combines elements of film noir, allusions to contemporary surveillance culture, and landscape imagery, to unsettling effect. His video installation The Only Good One is a Dead One (1993) turns the viewer into both assassin and target, while his film Secretion (2012) addresses the landscape of Kassel, Germany as a repository of its traumatic past. Doherty considers Richard Long, Barbara Kruger, and Jenny Holzer to be major influences on his work.