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Icon Octavia St. Laurent
How Do I Look, dir. Wolfgang Busch [2006]
angelmilkdreams
The latest issue of Dwell comes complete with this story shot in Haiti last November where I hung out with the owner, Josué, for two days and watched the light move around his one-bedroom bungalow in Canapé Vert, PAP.
Massive thanks to Sue and the Dwell design team on this. Spreads look amazing!
From Bulgaria to Brixton: Liz Johnson Artur’s Debut Photobook Reflects Blackness Across Borders.
Spanning three decades of work, displaying both black and white and colour portraiture, this visual retrospective is the first monograph of Russian-Ghanaian photographer Liz Johnson Artur.
Born in Bulgaria to a Russian mother and Ghanaian father, Artur grew up in Russia and Germany, often finding herself in environments where black people were rare. An upbringing plagued with a constant search for self spurred by her racial identity, Artur describes her work and the motivation behind it as a form of discovery and exploration:
“The only way for me to understand…why I took all these pictures…I was hungry…but I didn’t know…that I was…it’s like when you start eating…you realize how hungry you are…and when it came down to pictures…I now realize…how hungry I was.”
(Self-portrait, Liz Johnson Artur)
Self-titled, the eponymous book features photos from areas that represent a diverse cross-section of Artur’s life - from the streets of South London, to parts of Russia, Europe, and the United States, Congo and other countries in Africa, as well as The West Indie. Her photographs represent subjects from all walks of life, from school children to artists, people on the streets to universally recognized musicians, reflections of Artur’s interactions and engagement with individuals representing a myriad of experiences of black people from all walks of life.
Liz Johnson Artur has worked for everyone from iD, Sunday Times, Fader, Observer magazine, Dazed & Confused, and the Face, Artur’s book is the photographer’s self-curated collection of her career’s output.
No.12 bus, London, 1998
West London, 1999
Peckham, 1999
Lewisham, 1997
Find the book here.
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Loza Maleombho is Still Pushing Boundaries with Her ‘Alien Edits’ Selfie Series.
Turning the lens on yourself, using oneself as muse, is perhaps an act - depending on purpose and function - that lies somewhere between narcissism, curiosity and self-exploration. For Loza Maleombho, the art of taking a selfie is an act of empowerment that should never be underestimated. In the age of digital self-portraits, Maleombho has become something of a selfie sensation with her piercing looks, striking jawline, elongated neck, and diverse array of carefully curated objects usually placed atop her head like crowns, created for her ongoing Alien Edits series. Making use of symbolism, life and art are both a delicate balance in the literal and figurative sense as life imitates art, and art reflects life, for Maleombho through these portraits.
Constantly putting together new work to address the purpose of the project, it’s been a little over a year since our last interview with Maleombho. Over this time, she’s added several more portraits, materializing her inspiration into works that challenge conventional representations of black African women, inspiring others to create their own alien selfies or created illustrated versions of her own portraits. And with items ranging from vintage sewing machines and Senufo masks, to calabash instruments and chickens, she doesn’t shy away from making use of seemingly mundane items that are recognizable facets of life for many Africans.
Her project is currently enjoying its first major exhibition at LouiSimone Guirandou Gallery in Abidjan, having also being featured at this year’s Lagos Live Festival in June. Catching up on all this, she discusses her journey, the purpose of Alien Edits, and even gives us a few tips on where to repose in her hometown.
I’ve always thought the title ‘Alien Edits’ was as intriguing as the portraits themselves. Can you share with us the meaning behind the term Alien Edits for those that might be unfamiliar with your series?
Alien refers to the alienation one might experience when facing an injustice, prejudice or when a victim of stereotype or racism. Edits refers to change or the option of taking matter into my own hand.
Your work is currently on view in both Abidjan and Lagos. What is it like for you having your work shown in physical public spaces, especially in African countries?
I don’t think showing in public places is any different from my images being passed around on Instagram or Tumblr, or items from my fashion line being worn by perfect strangers around the world. It’s always the same feeling: a very unsettling and humble pride. But the series speaks for a matter other than myself. It’s a selfie project, yet has very little to do with who I am as an individual and much more to do with a social message for our community; the international Black culture I call Alien Nation. I am speaking to African Americans, American Africans, Africans, African Europeans, African Asians etc. It’s safe to say that all of us share the same struggle against oppressive institutions, racism and stereotypes and my response here manifests in a celebration of our cultural diversities and similarities.
I think the most rewarding response from the public has been of people creating their own selfies inspired by this concept and sharing it on social medias.
A video posted by Loza Maléombho (@lozamaleombho) on Jun 20, 2016 at 8:45am PDT
In over a year of posting your Alien Edits selfies you’ve managed to gain a considerable following of fans and admirers alike. What has been the highlight of the Alien Edits journey for you thus far?
I want to say, being able to exhibit the series in a Gallery, but I can’t deny the positive feedback I got from people all over the world, who have related to these images and participated and shared the hashtag by reproducing and reinterpreting the concept in their own way.
You describe yourself as a creative, you’ve successfully worked in fashion for several years now, and your Instagram page is a stream of beautifully captured scenes in your life. Are there any cross influences between your fashion label and Alien Edits? Do the two merge and overlap in any way?
They do overlap to a certain extent. I have an obsession with African masks dancers so you easily find recurrences of masks in my collections as well as in Alien Edits, the same with other cultural references.
Aside from seeing your exhibition in Abidjan, are there other places and things you recommend visiting or seeing in the city?
Yes. Bushman Café is a must for dinner and drinks and they host occasional electro parties! Jardyland is a fun family lunch on weekends, Hotel Particulier for an intimate and secluded stay away from the city but in the city. Kajazoma is a quiet lounging restaurant with modern African setting.
Anything we can expect from you in the near future?
I can say for sure that I am not restricted to my professional field.
(all images and videos via loza maleombho)
STYLE ICON: Patti Boulaye
Nigerian-British entertainer, Patti Boulaye was born born Patricia Ngozi Ebigwe on 3 May 1954 in mid-western Nigeria. As a teenager, she witnessed the horrors of the Biafran war in the country and her family later emigrated to the United Kingdom.
Raised in a strict Catholic household, Boulaye initially had hopes of becoming a nun. However, after mistakenly auditioning and for and successfully gaining a part in the musical Hair (she had thought the line was a queue for Madame Tussaud’s), Boulaye stepped into the world of entertainment and never looked back.
- DynamicAfrica
Nyamuoch Girwarth in ‘Faux Real ‘ by Ruo Bing Li for Nylon Magazine , October 2017
Aminé for New Balance
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Tugendhat House. Mies van der Rohe via greatbuildings
Zayna Cisse by Rachell Smith for Glass Magazine May 2022
Makala Johnson by Adrienne Raquel in Elle US April 2022