He Sees Black People Analysis

In Thuli Gamedze’s “He ‘Sees Black People’. So Where Am I?” I found myself asking many questions, for example, who is he? Who am I? Am I black? What is black? Are black people his to be seen? Most importantly I started questioning my being and how I exist within the realm of ‘blackness’. This is where I discovered my inner passion and what would be the central theme of all my works, and especially those within Surplus/Scarcity. Olivier Valsecchi’s “Time of War” revealed the beauty within simplicity and contrast, something I would hold very close to my own work. Ekaterina Zakharova’s “Dragon Fire” conveyed the importance of structure and thoughtful composition, a vital element to all art. Aneta Ivanova’s vast exploration of different mediums
“I did not realize there was film inside. The moment that this photograph was taken is inconsequential. It was recorded by mistake. But now it’s here, digging deep for memories I do not have.” I now allowed myself to create art that was inconsequential, in a way I freed myself from perfection. I began taking photographs all the time and deleting photographs all the time, if I didn’t like something I was okay with that. Thuli Gamedze made mistakes and ‘bad photographs’ acceptable. In my “Series of Colourful Times” I took photographs of landscapes as well as nothing in particular, simply because I thought the colours were beautiful and I wanted to play with them. In each photograph the horizon line acts as fence between the two contrasting colours. The colours are bold and the lines are thick, each element ultimately contributes to the aesthetic essence of the photograph. The horizon as a fence represents the meeting of two sides, abrupt or peaceful. In most of the photographs the meeting is abrupt, as there is a clear line dividing the two sides with no mergence (photographs 3 and 7). Whereas in others (photographs 1,8 and 9) there is a blurring of that line, indicating a sense of unity. Of course all these photographs fall under my central theme of questioning my existence within the realm of
All my art is a reflection of myself, therefore the colour within the photographs represents the colour given to me by my mother, and the black, grey and white in the photographs represents the white given to me by my father. The colour inside of me is all colours within the world, since colours are seen as bright and beautiful, something with which to celebrate, I believe that my colour is beautiful and should be celebrated. The white inside of me is black, grey and white, because it represents the often neglected variety within ‘white’. Today white can be seen as a single force, which is interesting. My father is a white man, my father is also a white Welsh man, who (as history will tell) experienced great hardships. And because of this I have not been raised to view ‘white’ as one-dimensional. Therefore my portrayal of white within my art should not be a single force, instead it should encapsulate variety. By using grey, white and black, I have provided my white with a very limited variety in order to portray the contrast between it and colour. Meaning my white and my colour do share a photograph as they share my body, though they also take up their own lines and