the chimerical commie

Table dancing at the local dive, reading about Cesar Chavez. [she/her/hers] (aspiring polyglot, art, social justice, Lana del Rey, 60s, bachata, philosophy, wanderlust)

[w-oyage]

 por Rodrigo lopes

[mulderties]

[passport-life]

Hallstatt | Austria

[cr-ee-py]

Louboutin breaks Condè Nast Escalator

aka my aesthetic

[allthingseurope]

[scooterscene]

“I’m avin’ a fag”

[contraire-ment-blog]

^unfortunate difference in terms once played out very poorly for my Irish dad in his American workplace

[jamesnord]

Eiffel 

[leuhslikesinstagram]

“From my rotting body, flowers shall grow, and I am in them, and that is eternity.” Edvard Munch by sarinam

[dynamicafrica]

In Conversation with Aaron Yeboah Jr., Curator and Founder of Pan-African Photojoural African Lens.

Bridging gaps through imagery and visual narratives, African Lens is an independent publication featuring and celebrating African photographers both on the continent and across the diaspora. Each page is carefully curated and engineered to share each photographer’s work and their visual perspectives. 

Currently in its second edition, and representing Egypt, South Africa, Kenya, Nigeria, Zimbabwe and Gabon, volume two features work from photographers Ralph Chikambi, Habiba El Gendy, Emmanuel Afolabi, Carbon Copy, Yannis Guibinga, Cedric Nzaka, DidiWho and Samuel Ouedraogo.

African Lens: Volume 2 comes complete with two covers: The Motherland cover representing African photographers in their homeland, and Diaspora cover representing African photographers in the diaspora. The Motherland cover features a beautiful nostalgic portrait by Ivorian and Burkinabé photographer Samuel Ouedraogo, whilst the Diaspora cover features a mesmerizing portrait by Nigerian born New York-based photographer  Emmanuel Afolabi. 

Aaron Yeboah Jr. is the curator and designer of African Lens. African Lens is a publication that celebrates and showcases African photographers based both in Africa and the diaspora. With the aim of wanting to create a staple for African photographers (mostly young photographers) to tell their stories and express themselves, in a world where not only African voices are marginalized but that of young Africans especially, African Lens was founded by Yeboah in 2014 with the hopes of shining a light on the beauty, rich and diverse culture of Africans – both in the motherland and that of those who have migrated to foreign lands.

To mark the second edition of African Lens, we interviewed Aaron Yeboah Jr. to get a more personal take on his work.

Congratulations on publishing your second volume! Can you tell us a little about it? What inspired it, and what makes it unique and something people should be curious about?

Thank you!  Volume two features eight talented photographers from north, central, west and southern Africa: 

Ralph Chikambi, Habiba El Gendy, Emmanuel Afolabi, Carbon Copy, Yannis Guibinga, Cedric Nzaka, DidiWho, Samuel Ouedraogo.

The heart of the African Lens publication is to showcase Africa as we know it, using photography. Not to brag or put myself in a high esteem but there has not been a publication made by Africans to creatively present the work of African Photographers in a way that African Lens does. 

It is a visual journey, it is an experience, and all of the images come from a place of truth and honesty. It is one of those things one has to experience to know what I am talking about. So far, the love and great feedback I have received is overwhelming. African Lens is still in the early stages. I have plans to move beyond just showcasing images but also work on original editorials, travel to different countries in Africa to connect with creatives and document each experience.

With the second volume, you’ve chosen to have two separate covers. What was the motive behind this? Were there any fears that it may look like a division of sorts, or do you see it as a necessary separation?

It never actually crossed my mind that it may look like a division or separation. I wanted to present volume two in a creative way. Motherland cover (representing African photographers in their homeland) and Diaspora cover (representing African photographers in the diaspora). 

The motive was much more of a celebration of Africans in the motherland and Africans that have migrated to foreign lands. The ultimate goal was to showcase the importance of maintaining our African heritage whether in a foreign land or exploring new ideas. No matter what we do or where we go, Africa is embedded in us all. 

Aside from the photographers featured, in what ways does Volume Two differ from the first?

I spent a year making the first volume, figuring out the perfect blueprint and layout to present each photographer’s work. It was an experimental and challenging process. I got much better with second volume. Aesthetically, the design and overall fell is much better as each page is carefully curated and engineered to share each photographer’s perspective and story. 

How do you go about selecting the photographers featured in each issue?

There is no specific criteria. The photographers have to be from Africa, living in the motherland or across the diaspora. I look out for all respective forms of photography, social commentary, fine art, portrait narratives, creative expression etc. I look for photography that document time, and that has substance and honesty. Since the first release, I have received a lot of requests from photographers to be a part of the project. It is an honor to see photographers recognizing and respecting the publication.

Photography has become a very important medium for Africans in reclaiming their agency and reconstructing the highly problematic ‘African gaze’ that came about during colonization. How important has photography been as a mode of expression in your life?

I believe photography is a powerful medium. Personally, photography serve as a communication portal and a source of enlightenment for me to interpret and understand the world, giving me a different perspective on life. Photography makes it easy to not just appreciate cultures around the world but to respect different cultures and people. That is one of the major reasons I started African Lens, giving African photographers a platform to present their work to the world and for the world see the real Africa through their lens.

From both a creative and technical standpoint, what is the process like when putting together your African Lens publication?

It is fulfilling to know that the photographers trust me with their work and to present their work to the world in a different light. I have a clear understanding that it is their creative expression, their craft, their vision. It is only right for me to respect their work. I communicate with the photographers as far as choosing the images. Each photographer also writes about their work, inspiration, creative process and also give a commentary on things such as what it means to be a photographer in their country, the status and future of ‘African photography’, problems and challenges they face and so on. 

As far as creative standpoint, each page is carefully designed to complement and tell each photographer’s story. The creative process is always a learning (and experimental) experience. I cannot specifically say how but every aspect of it is a natural process. The challenge for me is always going beyond what is considered standard. I go by my gut feeling and what is visually appealing to me. If it is not right it is not right. I make mistakes along the way and learn from it. Most of the time, the mistakes lead to better ideas than what I had previously. 

In creating African Lens, what was your vision - what did you hope to accomplish?

My vision for African Lens is for the publication to stand the test of time; be a staple for African photographers to share their stories.

Can you tell us about your 2dots initiative/creative agency and any other work you do?

2dots Space is my creative initiative/agency. 2dots Space is devoted to establishing a creative platform open for expression as well as helping and guiding creatives. To deliver innovative cross-platform solutions to communication and visual design. To use creativity as a tool to inspire, educate, and empower.  

Besides the African Lens publication, I have collaborated with other creatives and worked on a few other projects. To mention a few, designed Bad Girl Confidence magazine issue 2, I have collaborated with London-based photographer Tiffany Phan. I worked with her to design her debut street photography book. I also collaborated with artist Ojo Agi, presenting her series Daughters of the Diaspora in an editorial form. As well as designing an editorial for photographer Eric Gyamfi’s The Old Ladies’ Of Gambaga Witches Camp project. Currently have a lot of projects in the pipeline.

I am also moving to Ghana this September. I have a lot of great ideas and creative endeavors I would like to do. For now, the ultimate goal is to setup a creative space in Ghana. My purpose is to change the status quo and push creative boundaries. Working on making 2dots Space a creative force in Ghana, Africa and beyond. 

The 122-page Volume 2 of African Lens publication is available for purchase via africanlens.co. The first edition, Volume 1, featured work from TJ Letsa, Fundiswa Ntoyi, Zakaria Wakrim, Dayo Adeoti, Chelsea Boatey, Philipp Raheem, Andile Buka and David Uzochukwu.

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[alwaysmarilynmonroe]

53 years without you; June 1st 1926 - August 4th 1962. “I cannot say goodbye. Marilyn never liked goodbyes, but in the peculiar way she had of turning things around so that they faced reality – I will say au revoire. For the country to which she has gone, we must all someday visit.” - Lee Strasberg’s Eulogy for Marilyn on 8th August 1962. “Her beauty and humanity shine through, she is the kind of artist one does not come on every day in the week. After all, she was created something extraordinary.“ - Arthur Miller. “It’s a terrible pity that so much beauty has been lost to us.” - John Houston. “Her death has diminished the loveliness of the world in which we live.” - Life Magazine. “Marilyn Monroe,the most fragile and loveable legend of all.” - Look Magazine. She was beautiful and untouched, it was as though she were just beginning.” - Bert Stern. “She was pure of heart. She was free of guile. She never understood either the adoration or the antagonism which she awakened.” - Edward Wagenknecht.

[bysaestyl]

in hindsight i never had a gay cousin so i really should have known it was gonna be me all along

[wildfireworld]

Ben Ledi, Scotland

[archillect]

[hiiiwill]

Gruyères, Switzerland

[wanna-be-polyglot]

Listening to the target language

Writing in the target language

Reading in the target language

Speaking in the target language

[larcarioca]

[daitao]

Mt. Fuji and sakura by nipomen2 on Flickr.