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Beyond Fierce: RBMF Partners with Noted Photographer to Launch (Re)Vision Series
Delphine Fawundu-Buford has been a photographer for over 15 years and is among the 'young lions' of Black photography. Her work has been exhibited and collected nationally and internationally by institutions like Museum of Contemporary Art of University of São Paulo, the International Center of Photography, the Anacostia Museum in Washington, DC and most notably the Brooklyn Museum of Art where her photograph, Patiently Waiting, graced the cover of the catalog-book of the "Committed to the Image" exhibition.
She recently partnered with the RBMF on her "Beyond Fierce" exhibition. Read our exclusive interview with her below and check out pictures from the show's opening.
How did you first hear about Rashawn Brazell and what moved you to host an RBMF (Re)Vision event?
I first heard about the Rashawn Brazell around the time of the incident while listening to the news. On the first day that I began doing my online research for Beyond Fierce, I came across the Rashawn Brazell Fund. When I read the RBMF (Re)Vision event description, it seemed like the perfect fit for my project.
Talk a bit about the motivation behind Beyond Fierce.
I am a social documentarian and feel that it is imperative for people of African descent to document every aspect of our culture. Throughout American history, people of African descent have been degraded and misrepresented through imagery created through the eyes of others. I feel that it is my duty as a photographer to create an accurate historical record.
I think that image of the “homosexual” male of African descent is one that has been very limited, and therefore is often perceived through stereotypes. I thought Beyond Fierce would create a different perspective.
Photography can be very subjective, with this project I really wanted to get the perspective of the people that I was photographing. I feel that the voice of Black and Latino men “in the life” is not one that is often heard. As a heterosexual black woman, I am use to hearing opinions of what people think about “homosexual” males of African descent. It wasn’t until I did this project that I had the opportunity to hear what these men think of themselves and the community in which they exist. I feel that this perspective is extremely beneficial to the community at large.
In the Beyond Fierce exhibition, you pair a series of portraits with several comments that presumably come from your subjects themselves. What do you think is achieved by providing the audience with both text and images?
I feel that because the voice or perspectives of the Black and Latino men in the life are rarely heard, it was a significant part of this exhibit. I purposely did not match the text with the person who made the statement. I felt the text was a project within itself. Words are so powerful, especially, when they stand alone. In the audience experienced photographs of everyday men, who could be their brothers, cousins, dads, uncles, co-workers, or friends. They then got a chance to read powerful words that represented a group of men that we rarely hear from. These words answered questions that some have always wondered about. They destroyed stereotypes that were embedded in the consciousness of many. They struck chords in those who shared similar experiences. They evoked feelings of joy, hope, shock, humor and pain.
In a favorable review of the exhibition, the Village Voice reads the "Beyond Fierce" title as a challenge to or abnegation of the stereotype of gay men of color as "bitchy queens and creepin' husbands on the D.L.". How do you read it?
I think that the Village Voice hit it right on the nose. However, of course Beyond Fierce does not frown upon gay men of color who may be a bit flamboyant, it just says that there is so much more to the package.
You describe Beyond Fierce as a "living photo-essay". What exactly is meant by this designation and how does it differ from a regular photo-essay or collection of portraits?
I decided to use “living photo-essay” because the words were actually part of the exhibit. I think that it made the exhibition more interactive. Also, it was so nice to see so many of the men that I photographed at the exhibit, making it even more interactive.
Your previous photo series, which you shot as a Gulf Coast fellow with the National Association of Black Journalists, documented the lives of Katrina survivors in New Orleans. How often do you find your photography serving as a political statement or social commentary? What challenges do you face as a result?
I find that most of the time I am making some type of political or social statement. Sometimes the challenge with creating these images is that there is a thin line between documentation and exploitation. However, I am true to my art form, true to myself, and true to the people that I photograph, therefore, the images say it all.
Beyond Fierce has also been called a work-in-progress. How do you see the series developing? What else can we expect from Delphine Fawundu-Buford in the future?
I am proud to say that a smaller version of the Beyond Fierce exhibit will be featured at the Pride in the City Black Out Arts Series. I see this series developing into a more extensive collection. I can’t wait to see what happens!
Posted by RBMF on June 12, 2007 08:23 PM | Permalink
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