It is important to perceive and apprehend the past, present, and future, specifically in matters of the black interior and exterior life. This shows up in my current work entitled Master’s House. Master’s House is an on going archive of black and white images depicting household objects I own.
A lot of my work is an exploration. Master's House specifically is an exploration on home objects and how they are laced with the history of American slavery and oppression. And I can't fail to honor Audre Lorde for her life. The photographs in this series are a direct response to Audre Lorde’s essay, The Master's Tools Will Never Dismantle the Master's House. What I am attempting to do is establish a foundation I can always return to if I get lost in abstraction. The documentation serves as a departure point to understand apparatus.
I value interpreting history–the black experience in particular. In my work entitled, My Truth; Interpreted Through the Women in My Family, I interpret my family history by creating a 40-minute film, archiving 800+ family photos within a span of fifty years (1960-2010).The archive of photos is compiled into a video of still images that zoom, crop,and pan. The photos are accompanied by 30 poems written by the women in myfamily, which I recite. I am trying to overwhelm the viewer to communicate that black lives are complicated, expansive and abundant. At the same time, thevideo acts as a mediator between the viewer and the intersectionality of the black experience.
Excerpts from My Truth; Interpreted through the Women of my Family
Prince Lang Studios