DON’T PUSH ME CAUSE I’M CLOSE TO THE EDGE 2010 - 2024
These photographs, taken during my global travels, delve into our nuanced relationships with power, desire, faith, conflict, birth, and death. The series is a testament to how dominant systems and structures shape our daily experiences and inspire everyday acts of resistance.
The cornerstone of my artistic practice is to make the invisible visible, shedding light on the overlooked, marginalized, and oppressed, while challenging our propensity to turn a blind eye to uncomfortable realities and deny the consequences of our choices. This specific series delves into the intricate dynamics of the human condition—the narratives we spin, the forces that push us forward or hold us back, and the impact we have on each other and the world around us.
The collection also features collaborations with individuals who champion and live out alternative narratives and identities. Whether seen through role-playing, joining the army, participating in religious groups, protests, marches, or campaigns, my work explores how we create new tribes and mythologies, and the inherent contradictions, tensions, and tipping points that come with exerting control.
'Don't Push Me Cause I’m Close to the Edge' also illustrates how our perceptions evolve based on the care and treatment we receive on both personal and political strata. I believe this exhibition can challenge viewers to introspect their own perceptions while fostering a more empathetic understanding of diverse experiences.
In Soldier's Story series, my aim is to draw an analogy between the individual soldier in the army and each person's role and perceived value within society. Much like soldiers who appear faceless, uniformed, and stripped of their personal identity in service of a larger entity, individuals in society can feel similarly lost, submerged in the roles and responsibilities imposed by societal norms and expectations.This portrayal compels us to confront the harsh reality that in many societal structures—whether corporate, communal, or governmental—people are often treated as disposable resources, valued more for their productivity or compliance than their unique identities and potential. The individual, akin to the soldier, becomes just another cog in a larger machine, easily replaceable and frequently overlooked unless serving a direct purpose to the larger goal. My analogy suggests that just as soldiers are expected to perform and sacrifice without question, individuals in society are often pressured into conforming to expectations that may overlook their personal well-being. My series challenges viewers to reflect on the dehumanization that can occur when collective importance overshadows individual human experiences.
In Scared To Look Scared to Death, I delve into the pervasive impact of gun culture in society through the visceral lens of hip hop lyrics. This piece represents both a personal exploration and a broader cultural commentary, reflecting on the motivations that drive individuals towards the possession and use of firearms. By incorporating lyrics directly from hip hop songs, I capture the complex emotions and narratives surrounding gun violence, framing them within the realities of personal, familial, and societal consequences
In my series Through The Wire and Grief, I explore the themes of mortality and the ephemeral nature of life through stark, impactful imagery.
In Through The Wire the car toys are arranged to mimic real-life car crashes under the cover of night. This choice transforms everyday objects into a powerful narrative on the sudden, often unexpected cessation of life. By juxtaposing the innocence and playfulness of toys with the devastating realities of fatal accidents, I aim to provoke a deeper reflection on life's fragile nature and the abruptness with which it can end.
In Grief, I turn my lens towards the intimate and solemn moments of funerals. This series captures the raw, unembellished emotions of mourning and the communal aspect of dealing with loss. Each image carefully preserves the dignity and solemnity of these moments, inviting viewers to reflect on the universal process of grieving and the profound impact of death on the living.
Growing up with a devoted Christian mother, my work is deeply rooted in my fascination with religiosity within black communities and my acute awareness of Christianity's complex and often painful history in relation to enslavement and colonization. This personal and cultural backdrop adds profound depth to my series Christ Was Once Offered to Bear the Sins of Many and R.R.E.A.M.
In Christ Was Once Offered to Bear the Sins of Many, I document a devoted individual I encountered over three years, who stood outside his church holding a sign with that solemn declaration. This series captures his enduring faith and reflects on the persistence of religious conviction in public spaces, encouraging reflection on how spirituality shapes personal identity and community life. Meanwhile, R.R.E.A.M. (Religion Rules Everything Around Me) focuses on the Christian cross in various contexts, revealing how this powerful symbol is interwoven into daily life and architecture, influencing both cultural and personal landscapes. These explorations invite viewers to consider how visible signs of faith intersect with the unseen forces that drive and shape our human experiences.
Inner City Blues captures the raw essence and unfiltered reality of urban life. Through photographs taken at various points, I aim to highlight the emotional and social struggles faced by those living in the inner cities, whose stories are often ignored or overlooked. The title itself is a nod to Marvin Gaye and the soulful melancholy of blues music, which has historically voiced the sorrows and resilience of marginalized communities. In this work, I delve into the layers of urban existence, revealing how socio-economic factors shape everyday lives. The camera becomes a tool for visibility and advocacy, illuminating the challenges and inequities entrenched within these environments. Shots of surveillance cameras serve as a stark reminder of the pervasive watchfulness that marks these neighborhoods, intertwining with themes of police brutality to underline the tensions and conflicts faced by the community.
We People Who Are Darker Than Blue draws its inspiration from the deep-seated fears and racial biases that have long permeated society. My series addresses the fear that white communities often harbor towards Black individuals, a fear rooted in historical and systemic prejudice and perpetuated and spread over the world. Through large-scale photographs of crowds of Black people, I aim to evoke the emotions of fear and prejudice that have shaped societal interactions. By presenting Black individuals en masse, I bring these underlying sentiments to the forefront, challenging viewers to confront and reflect on their own biases. The images also highlight the profound realities of mass migration and the shared experiences of displacement and belonging. This series is a powerful visual narrative that compels viewers to recognize and question their perceptions, fostering a deeper understanding of the complexities of race and migration. We People Who Are Darker Than Blue invites a meaningful dialogue about fear, prejudice, and perpetual xenophobia.
Toy Stories feature nine poignant images of burnt toys, including recognizable figures like Angry Schrumph, Winnie the Pooh, and Thomas the Tank Engine. This collection challenges us to confront the innocence lost in the face of destruction and the lasting impact of trauma. Each image in Toy Stories dives deep into the themes of vulnerability and resilience, using the charred remains of beloved childhood icons to symbolize the fragility of innocence. These visual narratives explore how objects that once brought us comfort can transform into powerful emblems of pain and survival. Through this series, we grapple with the complex emotions tied to loss and resilience. The burnt toys serve as haunting reminders of the scars that shape our identities, urging viewers to acknowledge and embrace the strength found in overcoming adversity.
Life Expectancy is an intimate exploration of fundamental human experiences, delving into the desires and universal themes that shape our existence. In this work, I reflect on the yearning to have children, capturing the joy, hope, and complexities of parenthood, as well as the accompanying sadness and depression. Family, in its many forms, is at the heart of this series. My photographs celebrate bonds of love, support, and togetherness, while acknowledging conflicts and challenges. Ageing is depicted by showing the wisdom and transformations that mark our journey through life. Another aspect of Life Expectancy is the exploration of the desire to be reborn. Whether through baptism, spiritual awakening, or personal transformation, this series highlights our instinctual drive for survival and renewal.
Mercy Mercy is a series of images captured during my journey to photograph the Ice Hotel in northern Sweden. As I wandered through the snow-covered landscape, I was struck by the sparse signs of human presence. The faint imprints of car wheels and footprints gradually disappeared as I ventured further from the village, creating a stark contrast between the encroaching wilderness and the remnants of human activity. This series captures the intersection of nature and civilization, evoking a sense of isolation and contemplation. It illustrates the delicate balance between human existence and the natural world, exploring the traces of human life and the underlying narratives of our impact on the environment. The series delves into the broader human condition—our struggles, desires, and the systems that shape our lives. Mercy Mercy reflects on the transient nature of human presence, inviting viewers to consider the ephemeral imprints we leave on the world and how they resonate within the larger context of our shared experiences. This connection underscores the overarching narrative in my work: the examination of human interactions with their surroundings, the stories these interactions tell, and the profound impact they have on our understanding of existence. The project challenges viewers to reflect on their own perceptions and the marks they leave behind, fostering a deeper empathy for diverse experiences and the environment.
Mercy Mercy Part 2 These two images starkly depict the raw and unrestrained force of nature's destruction. The flames consume the landscape, transforming it into a haunting tableau of devastation and renewal. This series delves into the themes of destruction and rebirth, highlighting the cycle of annihilation and regeneration that is intrinsic to both nature and human existence. By juxtaposing the serene snow-covered landscapes of the first part with the fiery inferno of the second, MERCY MERCY Part 2 underscores the fragile balance between creation and destruction.
Black on Black; This intimate collection captures the essence of love, vulnerability, and connection between a young Black couple. Through these images, the series explores the tender moments of intimacy, depicting the nuanced dynamics of their relationship. The choice of the title Black on Black is deliberate, subverting the often negative connotations associated with the phrase, which is frequently linked to crime and violence within the Black community. Instead, this series reclaims and redefines the narrative, presenting Black love and intimacy in a positive and affirming light.
