ART&PHOTOGRAPHY
FEBRUARY 17, 2025
TEXT by Aurélia Kopou & Carl Foading
Curated by Aurélia Kopou
Photo exhibition
The Rhythm of Id
to The Good Dayz Magazine, a project dedicated
to showcasing Black artists. Through a selection of immersive works, it invites reflection
on the diversity of perspectives and the evolution of aesthetics
within Black communities.
The Rhythm of Identity delves into an essential and universal question: how is identity constructed
and transformed over time?
In an era where individual and collective narratives intertwine and reinvent themselves,
this visual exploration reflects on the multifaceted nature of identity, oscillating between heritage
and innovation, memory and projection, vulnerability and strength.Through this selection
of artists, The Rhythm of Identity celebrates a singular rhythm—one that transcends generations
and cultural boundaries to express the richness and complexity of contemporary narratives.
Each photograph becomes a pulse, a vibration, embodying the subtle dance
between tradition and modernity, introspection and assertion. The exhibition creates a visual dialogue between various artistic approaches. By blending studio photography with outdoor shots, it enhances the tension between introspection and assertion, between the intimacy of identity and its public expression.
The Rhythm of Identity is a space where the image becomes movement, where each work resonates
with the rhythm of a personal yet universal story, connecting deeply and authentically with its audience.
This exhibition invites viewers to listen to the singular rhythm of these artists and to let their
stories intertwine with our own, celebrating the beauty of duality.
EXHIBITING ARTISTS :
AUDREY MBALLA - CHARLES MENSAH - SAMUELLE NONO - MOTOYUKI SHITANDA KENYA TAY - SOPHIE TRACY MAY
Audrey Mballa, a photographer based in Paris for the past eight years, has developed a unique approach to photography.
Her work, at the intersection of fashion and documentary, delves into deep and vibrant
emotions through the photographic act. She captures the energy of cities, moving silhouettes,
patterns, and textures that shape her vision of the world. Constantly playing with forms and subjects,
she challenges notions of identity.
Her images burst between light and shadow, oscillating between saturated colors that echo
her Cameroonian and French roots and an imagination that contrasts with reality.
Inspired by encounters with remarkable figures in her daily life, she builds a universe
where each image becomes a visual exploration.
" To photograph is to compose
with the invisible as much as with the visible. Contrast is not limited
to light and shadow; it also lies
in the ambiguity of a gaze
or a gesture."
Charles has always been a creative soul, finding inspiration in music and dance from
a young age. His parents were a gateway to artistic discovery, as they offered him
an environment conducive to cultural awakenings.
Although art always represented a big part of his life/identity (?), it is only with time
that Charles began to consider photography as a true vocation. For a while, he was practicing
it subconsciously, without seeing it as a potential career. Then, little by little,
the idea of capturing precious moments and freezing memories instilled
itself into his mind.
Charles' blissful nostalgia stimulate his creativity and shapes his art. To him, nostalgia
is not a distant and bygone memory, but rather a force that drives him. The past serves
as an inexhaustible source of inspiration. Memories from his childhood continuously
feed his creative spirit, allowing him to reinterpret moments of happiness,
to capture them from a new angle, and to share them with his audience.
A black and white color palette has naturally imposed itself in his photographs, something
he wishes for us to see as a strong message.
For Charles, this aesthetic choice is, above all,
a way of paying homage to the codes of photography from the past. It is a nod to past eras that shaped his vision. This means of expression, stripped of colors, reinforces the depth of his photographs. It brings the observer back to the essential: raw emotions, bold contrasts, an authenticity without artifice.
Each image serves as an invitation to immerse oneself in a universe that is both nostalgic
and resolutely contemporary, a universe
where memories and the present make one.
Charles' art is a tribute to the past, as well a window on the future.
It resonates with a rare power, and communicated a unique sensitivity
that never ceases to captivate and inspire.
How do you perceive photography,
and which figures have influenced your journey?
I draw my influences from the legacy of legendary figures such as James Barnor,
Chi Modu, and Eddy Haucher, whose photographs have captured the raw essence of their time.
Inspired by these great names, I strive to create images that speak for themselves,
deeply resonating with those who view them. Every step of my journey is guided
by a clear ambition: to leave a lasting imprint as powerful as my predecessors'.
With the encouragement of my mentor, Daryl, I’ve learned to see beyond the lens.
For me, photography goes far beyond technique or equipment.
It’s about feeling, about authenticity. As I like to say: "It’s not about a camera."
I capture each image as I experience it, rejecting any imposed norms
and allowing my instinct and sincerity to shape my art.
How can artistic creation be an act of gratitude?
Creating then becomes a spiritual practice an act for the soul. Art is not just a product of our creativity;
it is a way of expressing gratitude for life, celebrating what we have, while drawing even more beauty and light
into our daily existence. By being truly grateful, we become the person we aspire to be, shaping a life that reflects optimism, openness, and abundance.
Kenya Tay is a Paris-based photographer and filmmaker of Ghanaian and Dutch descent.
Her work stands out for its carefully constructed compositions, where the influence of fashion is evident. Each image is meticulously crafted, with close attention to light, color, and staging.
What stands out most is her ability to structure her visuals with a strong artistic direction, seamlessly blending aesthetics and intention. Her Ghanaian roots are reflected in her approach to tones and contrasts, giving her work a distinctive and powerful visual identity.
Oscillating between storytelling and visual construction, she creates images that go beyond mere representation, exploring heritage and self-expression.
How does your environment in Ghana influence
your perspective as a photographer and the way you construct your images?
Ghana is a constant source of inspiration—a place where light, colors, and energy
shape my vision. The visual richness of my surroundings teaches me to find beauty
in everyday details: skin catching the sunlight, the texture of fabric…
I’m not sure if Ghana has directly influenced the way I construct my images,
but I clearly remember the creative awakening I experienced the first time I went there
at the age of eight. Everything struck me: the light, the heat, the colors, the dialects, the fabrics…
It was both a visual shock and an inexplicable feeling of familiarity.
Since then, Ghana has been one of the only places where I feel completely
inspired and at peace. It’s a space where my vision sharpens naturally,
where light and details take on a special meaning.
2. Your photos often explore femininity.
What draws you to these subjects, and how do you seek to translate them visually?
My perspective is, above all, that of a woman seeking to paint an honest and multifaceted
portrait of femininity. It’s not a pursuit of perfection, but of truth. I want to represent women
in all their nuances: their sensuality, sadness, rage, confidence.
I photograph women a lot, especially women of color, because I am one, but also because I feel a responsibility
—to showcase diversity, to fully represent us in a world that often reduces us to stereotypes or renders us invisible.
Each image is a conversation, a fragment of a portrait I am still in the process of painting.
Samuelle Nono’s images are full of emotions : they are fragments of her memory.
Since childhood, photography has been her outlet—a way to express the things she finds
no words to describe. Thanks to her family, she found her way to a disposable camera,
and made sure their memories would never fade away. This ritual shaped her vision :
she has an attentive gaze, and she sees everything
through the lens of her humanity.
Born in the Democratic Republic of Congo and now based in Paris, she refined
her approach through journalism studies at the Sorbonne, as well as her further
education at the Kourtrajmé school. Yet, the true essence of her work lies
in her personal experience. For her, photography is a way to communicate,
to tell a story that goes beyond the frame of the image.
"I would still like to express the admiration I have for the two sisters who raised me."
This sentence, taken from one of her writings, reveals the emotional quality of her work.
Childhood, family, exile from her country, the sacrifices parents make to preserve
their children’s innocence—these are the themes that shape her images.
She treats each of her models like a muse. She takes the time to understand their features
and decipher their body language. She finds the best way to highlight their emotions while ensuring
that a sense of peace emanates from each photograph she takes. She particularly enjoys working
with black and white in her photography.
"When I was younger, I saw no models of success around me because I didn't know where to look. But more importantly, I didn’t know what success was. Now that I understand, I just have to turn my head to see it."
What links are there between the different components of your creative identity?
Do you think that your dancing experience has helped you to become a better photographer?
For me, writing a poem or a text is a way to express what I feel using universal words that can
resonate with everyone. Photography, on the other hand, allows me to convey emotions without
the need for words. Through my images, I love the idea that someone might see them and recall
a specific memory or relate to them in a personal way.
Could you name someone who made you feel seen/appreciated
in the creative space, as an artist and a Black individual?
My work is deeply connected to the people around me, those who resemble me.
In the end, what I do is simply shine a light on my own reflection, my mirror.
What do see happening in the future of the photography world,
and how do you envision your self navigating through it?
When I go through a period without inspiration, I take time to rest and refocus.
I stay at home and write down every idea that comes to mind, whether it seems immediately achievable or not. Then,I set concrete goals to bring them to life. Inspiration often returns in the process of creating because
it’s by taking action that we move forward. It’s essential to stay active and alert,
even in times of doubt.
Muyaka Shitanda unfolds a visual practice that stretches to the edges of the tangible.
His work transcends mediums, freely oscillating between photography, painting, and beyond.
His art explores the presence and absence of the mind in relation to reality, creating worlds
where the everyday and the surreal coexist. Unbound by conventional frameworks, Shitanda
offers a fluid and introspective vision of existence, where beauty emerges from duality.
By deconstructing the pre-established rhythm of reality, his work crosses that imperceptible
line separating fantasy from reality, opening a space where memory and imagination merge
into a profound visual and emotional experience.
“I’m trying to find
beauty in the chaos.”
Sophie Tracy May has an instinctive yet masterful approach,
marked by a key element: movement.
Trained in dance, Sophie has developed a deep understanding of the body in motion,
the rhythms that flow through it, and the dynamics of space. This choreographic sensitivity
permeates her photographic and cinematographic work—her images always seem to pulse
with an inner energy, frozen at the threshold between reality and movement. Each frame
is conceived as a living composition, where the body becomes a language of its own.
But beyond technical mastery, what sets Sophie T. May apart is her insatiable thirst for exploration.
She refuses to confine herself to a single form of expression and constantly pushes the boundaries
of her expertise. For her, art is an endless field of experimentation, where each discipline feeds
into the next.
Versatile, bold, and visionary, Sophie builds a universe where the image becomes a narrative,
where the body converses with space, and where each project is an invitation to feel.
What links are there between the different components of your creative identity?
Do you think that your dancing experience has helped you to become a better photographer?
The need to say something. I grew up a shy kid and I think it allowed me to express myself in many different ways, and to have another understanding of things.
For sure. First of all they are all influencing each other. So I have the tendency to see things as a whole.
The experiences I’m taking from one field help me on every other things I do and I love to used them together.
But about dancing specifically, I think as a dancer you see individuals body’s
and mouvement’s differently.
Could you name someone who made you feel seen/appreciated in the creative space,
as an artist and a Black individual?
My friends. They are the first ones that saw my potential and gave me a chance. Most of us started
self-taught in different fields and shared common goals. So most of the project I did when
I started was for or with them. Even some of my first payed gigs was with them.
I’ve been a stylist for a while because my best friend needed it once for one of her shoot,
then we started creating stuff together and I became an Art Director.
I wouldn’t be here if I wasn't for that.
After making short videos from works I was documenting, I’ve directed short films and musics videos…
Same for photography, I started by documenting life and some jobs and my first payed jobs with it came
from a friend. My people saw me before I even did. Ain’t that beautiful? And I think working together
allowed us to understand how important and valid our identity is.
Special s/o to Aurélie, Manu, Salomé, Karine, Mariana and many more <3
What do see happening in the future of the photography world,
and how do you envision your self navigating through it?
Hopefully (and I wish that for every fields), more authenticity. Everything feels so « unified »
that it’s like seeing a lot of the same « aesthetic » (I hate that word) everywhere because it’s trendy.
But also more women in power position because we’re still struggling, even if it feels like they are
« embracing » women right now on the outside. Once you see who’s really directing things (lol)
we can count each other on one hand. Imagine if you’re a woman of color ?
So I envision myself continuing to be apologetically me, and shaking things up as much I a can.