![Widline Cadet, Nan Letènite (In Eternity) (detail), 2021. Inkjet print. Collection of the artist. © Widline Cadet, from the Seremoni Disparisyon (Ritual [Dis]Appearance) series.](https://phxart.org/wp-content/uploads/2022/05/detail-Widline-Cadet-Nan-Letènite-In-Eternity-2021.-Inkjet-print.-Collection-of-the-artist.-©-Widline-Cadet-from-the-Seremoni-Disparisyon-Ritual-DisAppearance-series-scaled.jpg)
ABOUT THE EXHIBITION
Showcasing more than 70 portraits, landscapes, self-portraits, and family archival images, And Let It Remain So: Women of the African Diaspora presents the nuanced perspectives of five photographers who are exploring their experiences of the African Diaspora, defined by the voluntary and forced movement of Africans and their descendants over centuries through waves of migration and enslavement.
ABOUT THE ARTISTS
Featured works by Widline Cadet, Jasmine Clarke, Hellen Gaudence, Nadiya I. Nacorda, and Sasha Phyars-Burgess reflect specific locales, general memories, and multilayered family experiences, drawing on elements from the past and present to consider an imagined future. Experienced collectively, these dynamic photographs illuminate shared and separate understandings of family and history, place and displacement, migration and mobility, and belonging and community, all informed by individual diasporic realities.
JASMINE CLARKE
Jasmine Clarke was born and raised in Brooklyn. Deriving from the experiences of her Jamaican father, she creates evocative, fragmentary, and dreamlike images that draw from familial stories, shared memories, and visions that reside in her mind.
IMAGE CREDIT
Jasmine Clarke, Olivia, Looking, 2018. Inkjet print. Collection of the artist. © Jasmine Clarke, from the Shadow of the Palm series.
NADIYA I. NACORDA
Born in Detroit, Michigan, Nadiya I. Nacorda is of Black and Asian descent, with family roots in South Africa and the Philippines. Her work—which incorporates family photographs and layers new and old images of various sizes—is deeply embedded in the shared stories, lived experiences, and specific identity of her family, while also speaking to broader histories of colonization and displacement.
IMAGE CREDIT
Nadiya Nacorda, Wearing a doek in Lolo and Lola’s bathroom, 2018. Inkjet print. Collection of the artist. © Nadiya Nacorda, from All the Orchids are Fine series.
![Widline Cadet, Seremoni Disparisyon #1.20 (Ritual [Dis]Appearance #1.20), 2020. Inkjet print. Collection of the artist. © Widline Cadet, from the Seremoni Disparisyon (Ritual [Dis]Appearance) series.](https://phxart.org/wp-content/uploads/2022/05/Widline-Cadet-Seremoni-Disparisyon-1.20-Ritual-DisAppearance-1.20-2020.-Inkjet-print.-Collection-of-the-artist.-©-Widline-Cadet-from-the-Seremoni-Disparisyon-Ritual-DisAppearance-series-scaled.jpg)
WIDLINE CADET
Born in Pètion-Ville, Haiti, Widline Cadet explores the notions of belonging, migration, and selfhood by using self-portraiture, family albums, and repetitive imagery. Her work also acknowledges the complexity of photography as a tool for representation, challenging the medium while self-consciously exploring its potential.
IMAGE CREDIT
Widline Cadet, Seremoni Disparisyon #1.20 (Ritual [Dis]Appearance #1.20), 2020. Inkjet print. Collection of the artist. © Widline Cadet, from the Seremoni Disparisyon (Ritual [Dis]Appearance) series.
HELLEN GAUDENCE
Hellen Gaudence, who lives in New York City and works between her home country, Tanzania, and the United States, created black-and-white portraits of African migrants residing in Tucson (2012-2015). Her photographs juxtapose these subjects with color landscapes of road-side native plants engulfed in red dust, environments that reference a generalized and absent African location.
IMAGE CREDIT
Hellen Gaudence, Kilema Road, 2016. Archival digital print. Collection of the artist. © Hellen Gaudence, from the Magharibi series; Hellen Gaudence, Souverainete, 2017. Archival digital print. Collection of the artist. © Hellen Gaudence, from the Magharibi series.
SASHA PHYARS-BURGESS
Born in Brooklyn to Trinidadian parents, Sasha Phyars-Burgess captures intimate and observational black-and-white photographs of family and community in Trinidad and Tobago, testing her ideas about the Caribbean against observed reality.
IMAGE CREDIT
Sasha Phyars-Burgess, Kiddie’s Carnival, Trinidad, 2013. Inkjet print. Collection of the artist. ©Sasha Phyars-Burgess, from the THERE (Yankee) series.
EXHIBITION SPONSORS
And Let It Remain So: Women of the African Diaspora is organized by Phoenix Art Museum and the Center for Creative Photography. It is made possible through the generosity of the Museum’s Circles of Support and Museum Members.
The exhibition is curated by Aaron Turner, a regular collaborator with the Center for Creative Photography and an African-American photographer and educator based in Arkansas. Turner’s own photography focuses on the Arkansas and Mississippi Deltas and his reflections on the place of the Civil Rights movement within his and his family’s experience. He is an Assistant Professor of Art at University of Arkansas, School of Art, and the Director of the Center for Art as Lived Experience.
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Major exhibition at Phoenix Art Museum showcases contemporary photography by women artists of the African DiasporaMULTIMEDIA
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