One of my earliest memories is spending time with the family photo album. I was completely fascinated by the images of these people who were my family but many of whom I did not yet know as I was the youngest child of a large family of eight children. The photographs were my portal to a mysterious past inhabited by these beings who lived on a thin sliver of reactive silver. These were mnemonic objects that acted as triggers or supports to our memories, they are the modern phenomenon that enables the individual graven evidence that they existed, even when the last person who knew them have died.
For the first time in human history mankind could leave evidence of their existence that was not a painting or drawing. One of the great ironies of our time is that the photograph or family snapshot has become so ubiquitous in almost every household or domicile, yet when devastated by calamities it is not our jewels or sundry possessions that we miss, no it is for the lost family photographs that we grieve. There can be no underestimating the importance of photographs in the construction of identity and in the case of our early years providing the images our memories could not.
The color still life photographs that I have created were made from the old family photographs and some of these became tributes to the lives and memory of these individuals. The photographs were in many instances constructed using the original photograph as a background on which to construct a still-life assemblage, that then also functions as a photo-montage. The use of colorful flowers is a standard motif in the construction of these images, but so is the use of various organic objects such as skulls of animals and the occasional human, bones, shells, shamanic talismans, fruits etc. These works are generally printed large for exhibitions with the largest works measuring up to 72 inches by 48 inches. Other image making processes were used in the construction of the still-life photos besides re-photography and the photo-montage process. Some of these processes include in camera superimposition or in camera image layering and the use of text. Not all the Color Still-life photos are about family, some are in deep visual exploration of topics from shamanism, mysticism, death and decay, politics, race and ethnicity, environmentalism etc.
Cousin Shirley, 1986
Family Portraits, 1989
My Father's Speeding Ticket, 1989
Fusian Twilight, 2008
Ascension, 1994
Yesolina's Family Picture with Banana Blossoms, Havana, Cuba, 2000
Coronation of a Black Queen, 1998
Dagme & His Fathers Poem in Amharic July 2007
Miss Peggy, 2015
Aunt Winnie, 1995
Christiane, 2003
About Ben Ingram, 2013
Archival Inkjet Print
In Memory of James Byrd, 2001 (Jasper, Texas, Dragging Death Victim) featuring the License Plate of the Pick Up Truck used in his murder.)
Miss Peggy, 2016
Ossarium, 2019
Archival Inkjet Print
Aunt Lou, 2021 (Louise Hinds my maternal Grandmother)
Stilllife for Lucille Buchanan, 2021
Lucille Buchanan was the first African American woman to graduate from the University of Colorado, Boulder. At her graduation in 1918, she was not allowed to publicly accept her diploma by crossing the stage at the Macky Auditorium on the campus.