The subject is the conflation of woman and home. A lone woman is surrounded by her domestic objects, activities, and obsessions. The still-life narratives created in the studio for the camera comment on the mania of collecting, accumulating, and decorating a home. In the series, the woman is overwhelmed by her possessions, leading to disaster and mayhem. Growing up in suburbia provided the basis of my work. I photographically create worlds that critique and satirize claustrophobic expectations of perfection that women continue to face, despite contemporary life and careers.
What do girls dream of? And what happens when a supportive environment is created where girls are empowered and given the opportunity to learn and dream? The Right To Play creates a playful world where girls are shown in an empowered and affirming way. Every day, girls face barriers to education caused by poverty, cultural norms, practices, poor infrastructure, and violence. For this project, I'm working with school girls from Kakenya's Dream to showcase what the world could look like when girls are given the opportunity to continue learning in an environment that supports their dreams.
In 1992, American photographers paid homage to Hopper through an exhibition that bridged the realms of photography and painting. During this event, Joel Meyerowitz underscored the inherent distinction between photography as a fleeting moment and painting as a gradual process. However, what transpires when we seamlessly merge both languages within a single artwork? This project comprises a series of photographs inspired by Hopper's work, where window views are crafted by me using acrylic paint on canvas. In these images, my wife takes on a role akin to Hopper's portrayal of Jo. It's left to your interpretation to discern what lies beyond the windowpane.
The photo series titled "(No) Stories to Be Told" delves into my inner journey from the present to the past. It forms a discourse with my private family collection, both literally and symbolically, as the individuals portrayed in the images are part of my family, extended relatives, and friends. By manipulating these photographs and aligning them with the present moment, I endeavor to unravel their characters, narratives, and roles. Through this process, I strive to recreate the past, evaluate their behavior, and redefine my role within the family dynamic and the history.
This project is composed solely of self-portraits. Through the solitary female figure in my images, I aim to address various aspects of female experience, touching upon both broader themes of womanhood and my own personal emotions. Some photographs convey pain, melancholy, and the raw emotions faced by women amidst societal expectations. Conversely, others capture the joy and self-assuredness that women often feel. The project seeks to explore the intricate layers of female psychology and delve into the inner world of women.
This project invites you to rediscover the enchantment of the world! Initially, the aim was to reintroduce poetry, dreams, and imagination through photography following the challenges of COVID-19. Inspired by the works of René Magritte, who once said, "Everything in my work stems from the feeling of certainty that we do, in fact, belong to an enigmatic universe," each photograph in this series was carefully crafted with unique accessories and attire. The cotton candy was artfully fashioned by the photographer's director using wool, while the large foam burr and red balloon were suspended with nylon lines. Each dress was meticulously designed for its specific setting, and the backgrounds were meticulously hand-painted. The green grass carpet was sourced from a local carpet store. Post-processing techniques were employed to achieve a painterly effect, focusing on removing details to enhance the painting-like appearance. Additionally, post-production added a few clouds and a bird, and digitally removed any visible fishing lines.
