I was recently invited to participate in my first group show, and in my hometown of Chicago of all places! The show was a new project by Mariane Ibrahim in collaboration with Gallery FUMI. To coincide with the show’s themes of improvisation and materiality, I decided to realize an idea I’ve been contemplating for the last few years. The work, titled “La Gente. La Costa.” features photos from my ongoing project, JUS SOLI, presented in a custom steel accordion frame.

Since moving to Mexico City in 2018, my perspective on framing has shifted towards a more sculptural approach. I’ve been questioning: How can I take my work off the screen? Off the wall? How can I enable my work to take up space and convey a visceral experience? That’s the mission.

The images were created using an old 4-lens Polaroid camera that was originally designed for passport photos. This specific tool was chosen to highlight a critical issue: Afro-Mexicans in Costa Chica often face deportation challenges because local officials deny their Mexican citizenship based solely on their Afrocentric features. By presenting these repetitive, passport-styled Polaroids within my custom steel frame, I aimed to emphasize a crucial message of belonging and identity.

I wanted the frame for ‘La Gente. La Costa’ to evoke a sense of familiarity with its accordion-like folds, and to resemble a found object – a relic of sorts. Afro-Mexicans are a vital part of Mexican culture, yet their presence is unrecognized. This piece is my attempt at recognizing their profound role within Mexican history.

Much love to my friend Jorge over at Industria Qi for helping me bring this idea to life. Working with new materials in this way was an extremely overwhelming process! So many hurdles. So much back and forth. So much anxiety. Will it work? Will it get to Chicago safely? Will the prints arrive on time? Whew! No matter the hurdle, I had to push through. I’m grateful for this test/push, and am looking forward to more explorations with making work that stands the test of time. The first of many more group shows!

There’s a high chance that some sort of jazz will be will be blaring from my speakers whenever you step foot in my studio.

Here are 3 Jazz tracks that inspired a recent darkroom session

Behind the scenes footage from the Gap X HFR campaign which I had the pleasure of photographing and directing. 

Lately, I’ve been deep in personal projects, finding inspiration in every nook. But a recent call pulled me back into the electrifying energy of a major campaign. This wasn’t just any shoot; it was for The GAP, a collaboration with five incredible designers from Harlem’s Fashion Row.

It had been a minute. The past few years shifted how many of us in this industry work. While I’ve been creating constantly, the full-throttle, high-stakes environment of a big set had become a distant memory. Stepping back into it, feeling the hum of the crew and the pop of strobes, the organized ballet of production – it was like riding a bike. Maybe a bit rusty at first, but the muscle memory kicked in fast.

The excitement for this project was palpable from the jump. Gap’s enduring appeal merged seamlessly with the fresh, vibrant perspectives of Harlem’s Fashion Row designers. My role, as both photographer and director, was to weave these distinct narratives into a cohesive visual story, honoring both the iconic brand and the innovative spirit of the designers.

This campaign felt particularly meaningful. It wasn’t just about the clothes; it was about celebrating diverse voices and showcasing a powerful collaboration. Being back in that high-octane environment, pushing creative boundaries with a team that felt like family, was incredibly invigorating. It served as a powerful reminder of the unique thrill of big-scale production and the magic that happens when so many creative minds converge. I’m ready for more!