“Through connections to her family, dual religions, rituals and historic re-interpretations she staged herself in performative postures, using dress and ritualistic objects to perform specific rites or ceremonies for the camera.”
“I think I was working in places like those for quite a while before I knew why I was working in them. I don’t have a car or a driver’s license, so I navigated Virginia on my bicycle or on foot the majority of the time.”
What aspects of this collaboration, both Thompson’s and Reynolds’ are complicit in the same ideology and methodology of representation that perpetuates this distance between the photographic, its technological apparatus and its subject matter?
“We live in an era where artists constantly have to self censor. In my experience more often to pander to a disingenuous idea of political correctness than to conservatism.”