‘Reflecting B(l)ack’ is a special edition Pan-African publication that gathers works from different photographers, both emerging and established, weaving the rich and multifaceted tapestry of African art. The publication is launched by , a community of artists and creatives (named one of the top 20 “Best Cultural Spots” on National Geographic’s Best Of The World 2024) that allows individual to find their own expression through a multidisciplinary approach, from
fashion and design, to photography and film. ‘Reflecting B(l)ack’ serves as a celebration of photography: a force of change and a vehicle of emotions, stories and cultural landscapes. But, foremost, it is a way to cherish and nurture all the African artists that broadened the discourse in art and photography, outlining new horizons on society and culture. Among the various artists from all over the continent, the publication includes Andile Buka, Athi-Patra Ruga, Ayana Jackson, Daniel Obasi, Hassan Hajjaj, Imraan Christian, I See A Different You, Lebogang Tlhako, Lebohang Kganye, Lusanda Ndita, Mary Sibande, Mikhailia Petersen, Mous Lamrabat, and Trevor Stuurman. We talked with , multiple-award-winning, South African photographer and founder of The Manor, who curated ‘Reflecting B(l)ack’. The naissance of Reflecting B(l)ack stemmed from my love of photography. I’ve always wanted to create a journal that celebrates African photographers who have contributed significantly to the medium and the art world as a whole. Photography is often overlooked and undervalued, especially within an African context, even though it has the ability to document truths in society. Reflecting B(l)ack pays homage to these photographers whose work has left a lasting impact on me. Cultivating an approach that celebrates others is so important. I strongly believe that a candle loses nothing by lighting another candle. A perfect example of this is how the publication was launched: a pop-up store entitled REKAOFELA, a Sesotho saying that translates to ‘We Are Together’, which is a collaboration between The Manor, Kasi Flavour10 and Soweto-born artist Blessing Rooi. I strongly believe in the concept of collaboration and shared success — Reflecting B(l)ack is a microcosm of that philosophy. I deeply resonate with the artists featured in the publication in one way or another. I wanted to feature artists from across the continent, from Morocco to South Africa, showcasing emerging photographers alongside more esteemed ones. Representation was also very important in the selection process: The book features many photographers and artists who are women, reflecting the diverse perspectives and narratives throughout Africa. By highlighting the voices and visions of
Women artists, Reflecting B(l)ack amplifies their contributions to the art world to inspire future generations. Over time, there has been a notable shift from stereotypical and often negative portrayals of Blackness, towards more diverse, nuanced, and empowering representations. Reflecting B(l)ack focuses on celebrating Africa as opposed to documenting trauma or mainstream complexities of Blackness. Photography is an aide-memoire that doesn’t necessarily need to evoke negativity, it’s a form of storytelling with aesthetics that can provide more inclusive and authentic portrayals of Blackness, empowering individuals to shape their own narratives. In order to get a deeper understanding of the project and to look at it from a different perspective we also discussed with the Founder and Director of the (and ) Azu Nwagbogu, who wrote the publication's foreword. At the intersection, the ligand between society and art is the medium of photography. It connects and balances the way we understand contemporary life. You only need to look at the volume to see how these photographers capture the very essence of your brilliant question. You take your pick, Athi-Patra Ruga, Imraan Christian, Mary Sibande, Carlos Idun-Tawiah, Hassan Hajjaj, and Mous Lamrabat, each and every photographer in this volume, through their work demonstrates the transformative import of the image. Mary for example, through performative gestures and self-portraiture engages with the history of women in Apartheid
South Africa and how the change of the Born Free generation is creating a new way to engage with South Africa. Hassan has been working for decades collecting and creating artefacts that embody his beloved Marrakech through portraiture. They all dissolve the borders between the ideas of photography, art, fashion and society to create narratives that bring us closer to the truth of an evolving youthful continent. The answer is within the idea Reflecting Back, the ‘L’ in Black is floating. That is to say, it’s more of a way we reflect amongst ourselves as Africans, people of colour, with a history of colonisation and disenfranchisement. How we come together to shape a new identity and narrative for Africa and our various diasporas. In physics, and photography is an aspect of physics, within the visible scale, Black is the absorption of all the wavelengths of light. I personally don’t see Black as an othering but rather a coming together of all styles, aesthetics and cultures. My work has always advocated for an inclusive visual language that embraces and that defines a sensibility that is rooted in compassion and an acceptance of our rich heritage. In contemporary visual culture, the concept of a Black aesthetic has indeed evolved. These photographers challenge traditional notions of the Black aesthetic by presenting multifaceted and nuanced portrayals of Black identity and experience with work that is just as multifaceted and nuanced. They restitute traditional forms, styles, and identities and redefine a visual language rooted in ancient forms. Rather than adhering to narrow stereotypes or prescribed narratives, they offer a rich tapestry of images that reflect the complexity and diversity within their communities. And through their works, whether through digital manipulation, mixed-media collage, or experimental printing processes, they demonstrate the fluidity and adaptability of artistic expression within the black experience.