In the Beginning

My brother Chris Owens along with the instructor of Introductory Photography at Belmont High School, Mr. Roy completely opened my eyes to the art, about the time I reached working age. The axis of my learning was also the birthplace of my passion for art. I was enamored by the dark room and for a student not enrolled in the class, I earned the opportunity to shoot, process, and print medium – format film. An early appreciation of fashion influenced personal apparel choices and molded the type of content I sought out. A constant in all of the editorials, articles, blogs and posts was the unique individual donning the wardrobe. A look at Chris’s work in the early stages highlighted the lack of knowledge I had about the art, as well as of my city. To own a camera would solve the issues at hand. I worked my first part-time job to earn enough for my first camera in 2013. It isn’t most likely the most influential purchase of my artistic career.

Style and Technique

All of my subjects are by themselves, more often than not. I consider multiple unfocused subjects distracting. However, once or twice, one of the more powerful photographs will include an uninvited guest. The liveliness of the city is often not portrayed in my work, in order to focus on the individual depicted. Almost of my subjects engage the camera. Some chose not to at times, which I don’t mind, but capturing the visage is of utmost importance. I enjoy capturing subjects at night as characters appear bolder than during the daytime. This is not a constant. Individuals I photograph are generally ignorant of the images I produced of subjects prior to them, however, there’s almost a collective understanding seen throughout all the photos, on certain matters, a link that demonstrates how united we stand despite our differences. My appreciation for the lower light hours is not overshadowed by my love of daylight. A rather dark individual myself – take that as you will -- I am not afraid of casting shadows, or light, onto my subjects. Interestingly enough, each individual stands in their own light, a universal trait among ambitious people. Without any suggestion, I simply capture the moment as the individual remains present. One task I take upon myself is the coordination of location and individual. I believe this is the most operant feature in my work. There is a characteristic of pop art present in the photos as signature is typically emphasized, numerous in number, and repetitive to draw attention. I tend to look for something that appears right to me.

Subject Matter and Context

My work explores a more hidden meaning, probably less apparent to the passerby. To remain inclusive of all people, is the method to improving the tensions in America. The people I include are not added for some type of campaign. These are people in my life and community that bring the life and color. Although people may reappear in my work, they do in a unique fashion. I don’t want to categorize myself as some type of civil leader in these times, however, the responsibility does fall on our generation of individuals to usher in change. The same differences that we fixate on and which create division are the very aspects we should use to unify ourselves. The subjects unknowingly remain very isolated visually but connected schematically throughout the body of work. This illustrative representation serves to counteract the media we consume daily. The narratives that the news often portrays only the issues. In my attempts to photograph individuals, I wish to reverse this. I highlight other things in people, at least through the suggestive nature of facial expressions and engagement. I hope it serves as an aesthetic reminder that we are different people, and that should be embraced. I can only speak to my issues concerning inclusion, as a citizen of the United States, a resident of the city of Boston, a student at Bentley University, but as I want to assure everyone, I mitigate the apparent problems by including everyone I meet. A black kid photographing all his friends of unique origin may just be the reminder everyone needs.

I publish my work at thatkidsblack.com. The phrase ‘Damn, that kid’s black’, is just a statement of the obvious for salience. It’s an exclamation of the pride I have in myself. I’m unequivocally black. I’ve seen what I’ve seen, and know what I know as a result. I bring it up because it’s entirely irrelevant but inarguably existential to my identity. I like standing out, as the community of photographers of color is small. I will share my growing appreciation of the people I see. It will explore color, light, darkness, and isolation in the city.

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Exhibition at Bentley University

I highlighted unique situations, not unusual in their setting, but for the character depicted. All of the subjects are engaged with an individual, visually, either the audience or a subject out of view. The manner in which their attention is kept by at least one other party engages the viewer more provocatively, as one reflects on the possibilities. The context can be enhanced with the location and details visible, but on the whole, a concrete rationale is never reached. This allows for personal ambiguities. I chose purposefully two photos of large influences in my photographic career, Chris Owens and Owen Madden. I draw a parallel in their names and impacts to my vision by mirroring their locations, while setting them in entirely different scenes to highlight their preferences, style and direction. They both engage the audience directly, as they did when I stood before them capturing their images. The sincerity in their engagement with the audience demonstrates a closeness with the viewer despite standing at a distance. My work is an exposition of the complexities of relationships when one considers the individual and communities when one considers the environments and group of people as a whole.

^Owen.

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^Chris.

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The aspect of change I desire for Bentley University is more of an awareness than anything else. After the proper attention is paid, respect, praise, and the like can follow. However, it seems too operant, manufactured, as opposed to encouraged. Unfortunately, the lack of reception from the larger majority of Bentley students points to another matter. It seems that our acknowledgment is improving, but I think with the right provocation, it can flourish. I’ve already found an excellent community to be a part of by attending here, I only aim to improve it.

Category	landscapephotography
Settings	Various ISO - Various f/stops
Camera	Canon EOS 6D
Question	What parts of an artist's story are important?
Location	Boston, Massachusetts

^{My last piece.}