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Nigerian Identity

(Permanent collections: Museum of Fine Arts Houston, Philadelphia Museum of Art, Smith College Museum of Art)

This is a series of portraits of my fellow Nigerians in which all people are presented in a uniform manner, even enhanced so that their skin tones are virtually identical.

The idea behind this discipline stems from my experiences living in different cultural settings which have viewed identity differently

 “The context of clothing and attire is also mostly removed as clothing often comes with its own connotations of identity.”

“The context of clothing and attire is also mostly removed as clothing often comes with its own connotations of identity.”

 “The homogenization of the skin tones in my project plays on this tendency to reduce people to just a color. But it also serves to unify the people and further an artistic expression of their portraits.”

“The homogenization of the skin tones in my project plays on this tendency to reduce people to just a color. But it also serves to unify the people and further an artistic expression of their portraits.”

 “I want to contest the superficial travel or tourist photography approach to peoples who may be unfamiliar to the photographs’ viewers”

“I want to contest the superficial travel or tourist photography approach to peoples who may be unfamiliar to the photographs’ viewers”

 “Here, I want the people to stand as their own representatives of who they are - Identity is who you are on the inside.”

“Here, I want the people to stand as their own representatives of who they are - Identity is who you are on the inside.”

 “In these images, the skin tones are rich, deep and beautiful to celebrate our beautiful skin, for which we are often oppressed and marginalized.”

“In these images, the skin tones are rich, deep and beautiful to celebrate our beautiful skin, for which we are often oppressed and marginalized.”

 “The square format and plain background further allows the viewer to fully engage the subject with their gaze and all the emotions conveyed.”

“The square format and plain background further allows the viewer to fully engage the subject with their gaze and all the emotions conveyed.”

 “Drawing inspiration from photographers who have created typologies of their subjects, including August Sander, Richard Avedon, and J.D ‘Okhai Ojeikere, I use a plain background to  eliminate any cultural or ethnic context , whether of urban disrepa

“Drawing inspiration from photographers who have created typologies of their subjects, including August Sander, Richard Avedon, and J.D ‘Okhai Ojeikere, I use a plain background to eliminate any cultural or ethnic context, whether of urban disrepair or African wilderness.”

 “As African culture becomes more mainstream, I find that the line between celebrating and exoticizing African culture is increasingly blurry.”

“As African culture becomes more mainstream, I find that the line between celebrating and exoticizing African culture is increasingly blurry.”

 “To add some clarity to the current discourse, I photograph my subjects in a regal and direct manner. This is my take on beauty and elegance.”

“To add some clarity to the current discourse, I photograph my subjects in a regal and direct manner. This is my take on beauty and elegance.”

 “It is my hope that this will create a connection between subject and viewer. It’s also my way of challenging viewers to understand what it is like to be  the other .”

“It is my hope that this will create a connection between subject and viewer. It’s also my way of challenging viewers to understand what it is like to be the other.”

 “Above all else, it is a reminder that the culture and identity of a people should be always be appreciated, respected and honored.”

“Above all else, it is a reminder that the culture and identity of a people should be always be appreciated, respected and honored.”

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