Check out a preview of the monograph below and be sure to pick up a copy when it releases next year.
Photo by Nadine Ijewere. Image courtesy of Alma Communications
In Our Own Selves, Lynette Nylander said the following: “…the presence of Black women in her photographs feels like a potent freedom of expression, and one, as a fellow Black woman – whose beauty is often miscommunicated as otherness – that feels affirming and an ascension of our cultural identity.” Talk about your inspiration behind making this monograph and if it feels like a power reclamation of sorts, after the past two years of public turmoil?
Since I began as a photographer, I have aspired to make a book. It was a dream of mine. I thought if it was to happen, it would happen later on in my career. The opportunity came during the pandemic; as challenging as it was, it felt like an important time to put one together. The past two years in particular have been tough. From the loss of life and injustices against people of colour to the paralysis of social interaction. The celebration of people of colour and the celebration of community are focal points in my work. Our Own Selves is a celebration of us. Celebration and togetherness are something we need in abundance now more than ever. It brings me joy to have the opportunity to give this book to the world.
How long was your process of selection for final images and what common thread was essential to convey?
Originally I wanted to publish a wider selection of my work. I wanted to include images that showed the development of my work over time. I came to the decision that I would include more recent projects that represent where I am at now as an artist. It took 6 months to select the images. The common thread is the celebration of different types of beauty.
Photo by Nadine Ijewere. Image courtesy of Alma Communications
Bright colors, billowing fabrics, and bringing beauty into the natural outdoors are prevalent throughout your work. What about these elements constantly inspire you and what is the significance of bodies of water to you?
Honestly, I just love bright vibrant colours that are fresh. Some people may interpret the palette I use in a different way, which I love and welcome. With the fabrics it’s about the shapes and movement, I love to play with shapes and perspective. Sometimes the way a dress moves naturally inspires me. There’s more depth with the water, no pun intended. You know…there’s something very freeing about water. When you let go and float in it, there’s that motherly element of being carried by her.
Your project Tallawah is the final chapter in the book — why did you decide to end on this note of showcasing your Jamaican heritage?
The first and last images in the book hold great significance with each other. It just so happens that the last image inside the book was from the Tallawah project. I won’t go into any more detail, I prefer to leave things open for interpretation.
Photo by Nadine Ijewere. Image courtesy of Alma Communications
When looking at your trajectory as an artist, what is something you would have wanted to tell your younger self?
Be upfront and tell it as it is. Transparency is beautiful. Be patient, whatever is meant for you will come. One day there will be many beautiful black women in the fashion industry, including yourself.
What would you like your legacy to be known as?
Someone that was dedicated and contributed to change, with the younger generations and the generations to come in mind. The references I leave behind to encourage more people of colour to tell their own stories.
Photo by Nadine Ijewere. Image courtesy of Alma Communications