A study of my grandfather, Radcliffe Randolph Arnold Browne, in the last two years of his life.
I have dreamed of photographing my mother—and now I have.
It is a unique privilege to see one’s mother, an intimacy beyond touch. I am grateful, humbled, and in awe.
On memoir and the Caribbean image.
This photographic series is one of the components of the No Words Project, a multimodal project in black portraiture and the practice of Caribbean Nonfiction—and the subtle complexities of Black rhetoric and poetics.
No Words Project Synopsis
This project—including these self-portraits, the printed word, the performance, vignettes, and their respective methods of display and distribution—is a deliberative meditation on Black being, of being undone, and of Black life in perpetual imagination of itself. It exists somewhere between a search for peace, a need for justice, and a desire to breathe.
Epilogue.
Every “after” is a “before.” This is not a riddle, only a slight shift—a temporal frame of a typically spatial notion of “beginnings” and “ends.” I don’t mean to reject one in favor of the other, only to expand it somewhat. Or, more accurately, to expand my own understanding to suit my endeavors.
The aesthetics of environmental erasure—of what goes, what remains, and what is brought back to us on the tide.
Myth, method, and metonymies of perspective among the stilt-walker gods of Trinidad.
Festival, performance, and transmission of black masculinities.
The first of four series in my book, HIGH MAS: Carnival and the Poetics of Caribbean Culture, “Seeing Blue” is a premonitory chronicle of my own return to Trinidad and Tobago—and the emergence of an idea of Caribbeanist Photography as I would come to understand it.