Wednesday, May 9, 2012

(born 1962, Kumba, Cameroon), In his photographic series “African Spirits,” an exhibit held from October 2008 to April 2009 at Jean Marc Patras / Galerie, Paris, Cameroonian photographer Samuel Fosso presented what appeared to be portraits of black leaders, politicians, and cultural icons, ranging from former South African president Nelson Mandela to American boxer Muhammad Ali to American activist and academic Angela Davis. In fact, these 14 images were “autoportraits,” as Fosso transformed himself into other people and characters drawn from popular culture and politics. Although his work incited comparisons to traditional African studio photographers (such as Seydou Keïta of Mali) and Western photographers who utilized self-portraiture (such as American Cindy Sherman), Fosso operated in relative isolation in his studio in Bangui, C.A.R. Yet by 2009 Fosso’s work was regularly featured in solo and group exhibitions around the world, including the 2008 edition of the “Festival des rencontres de la photographique d’Arles” in France.
Fosso lived in Nigeria as a child, but in the early 1970s the Biafran war forced his family to flee to Bangui, where he ultimately settled after the war destroyed their Nigerian home. He discovered photography in his early teens while working as a shoemaker, and by 1975, after a brief apprenticeship with a local photographer, he had opened his own studio. He lived and worked at the studio, creating portraits of the local residents by using studio lights fashioned from pots and backgrounds made from traditional African fabrics or hand painted by friends. At the day’s end he would often step in front of the camera to finish a roll of film. While Fosso used these images to communicate his well-being to his grandmother in Nigeria, the staged self-portraits also became agents of transformation and expression for the young artist, who was acutely aware of shifting cultural and political climates. In many of his early images, Fosso borrowed elements from popular culture that he admired, even having local tailors replicate outfits worn by celebrities. In 1993 these images were discovered by French photographer Bernard Deschamps, who was looking for photographers to be included in the first edition of “Rencontres de la photographie africaine” in Bamako, Mali. That 1994 exhibition launched Fosso’s career as an artist, and he later went on to win the Afrique en Création award in 1995 and the prestigious Prince Claus Award in 2001.
Fosso evolved and expanded the scope of his autoportraits, using these constructed images to critically narrate and reference cultural and political events. In the Tati series, commissioned by the Parisian department store Tati in 1997, Fosso depicted himself as characters ranging from an African chief draped in gold jewelry and leopard skins to a glamorous African American woman. Regardless of his international success, Fosso continued to live and operate his photography studio in Bangui, where the local community remained largely unaware of his achievements as an artist.


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