In 2015, photographer and visual artist Ima Mfon released his stunning series, Nigerian Identity, as a way to examine what it means to be Nigerian. And the series still feels as thoughtful and relevant today as it did two years ago.
In the series of portraits following Nigerians living in America, all the subjects are presented in a uniform manner: photographed on a white seamless background, looking directly into the lens, and enhanced so that their skin tones are virtually identical.
The homogenization of the skin tones in the project is Ima’s commentary on our society’s tendency to reduce people to just their colour.
We met up with Ima to discuss his love for photography, the inspiration behind the series and his plans for the future.
Q: How did you discover photography?
Ima Mfon: I discovered photography when I was about 14. My family went on vacation and my mother bought me a 4 megapixel digital camera. I began taking pictures of my surroundings and slowly became drawn towards the idea of documenting my life through photography.
It was still a very casual hobby for me at that point, however I started to get seriously into it during my undergraduate days at the University of Texas. I took a few photojournalism classes alongside my business classes and this was really the beginning for me.
What inspired your Nigerian Identity series?
I think there are many unique parts that make up who we are as Nigerians. This premise inspired me to express the idea of individuality, while still playing on the theme of similarity, and that is how the series was started. There are many different ways in which I could have executed this, but I have a fascination with skin, and wanted to convey and celebrate the beauty and richness of the black skin (which sadly we are often oppressed and marginalized for).
I also wanted to convey a sense of humanness and individuality, which is why every portrait in this series is staring intently at the viewer, inviting them to connect. This was the inception of the project but it grew beyond that. Most of the people in this series have interesting stories and have personal items included in their portrait which reveal a little bit about them. There are a lot of stories and secrets hidden in these photographs and this is partly what makes them so exciting for me.
What do you want people who see your work to take away from it?
My work sparks a lot of criticism, not everyone is a fan of my style or approach, but as long as people are talking about it, I am happy. The whole point is to get people to think. With my Nigerian Identity series, I present my own take on what it means to be Nigerian.
Several people disagree and offer their own counter views, and I find this exchange very exciting. As long as we are talking about our identity, we are collectively exploring it. So I guess you can say the main takeaway is for people to think more about these subjects and start having more conversations about them.
What can we expect from you next?
I’m working on a few different things right now so it’s hard to say. But for now I’m still interested in exploring things that relate to Nigeria so you can expect something along those lines.
See the Photos Below
George (shot March 24). Lives in New York City, photographed in New York City. George is a student getting his masters in City and Regional Planning. I chose him as a subject because he shares a similar interest in the subject of identity. He is pictured wearing his glasses, which are not a symbol of Nigerian identity. This image presents the idea that what we wear or possess does not necessarily give us our identity, as George is no more or less Nigerian than others in the series with Nigerian names or attire.Ogechi (shot March 27). Lives in New York City, photographed in New York City. This image also speaks to the different ways in which Nigerian women choose to wear their hair and adorn themselves.Ese (shot Feb 22). Lives in New York City, Photographed in New York City. She is an accountat and aspiring writer. I chose her as a subject because like me, she understood the frustration behind Nigerian identity, trying to balance your ownvalues with those that have either been forced or projected on you. Her headtie in some ways represents an aspect of Nigerian identity: It is normal for woman to wear headties or wrap their hair. It serves as a commentary on casual dressing in NigeriaDamilola (shot February 22). Lives in New York City, photographed in New York City. Damilola is a luxury stationery and crafts designer: she makes specialty invites and cards for events ranging from weddings to graduation parties. I did not style her hair, I simply photographed it as she had it tied. This image speaks to the different ways in which Nigerian women choose to wear their hair and adorn themselves.Florence (shot April 7) Lives in New York City, photographed in New York City. Most of the access I had was to a generation of Nigerians in my age group; and I am currently trying to expand the project to include people both older and younger than my generationFolayan (shot March 21) – Lives in Washington D.C, photographed in New York City. Folayan is a friend who is passionate about the issues faced by black people living in America. He chose to support the project by being photographed.Miriam (shot April 3) – Lives in New York City, photographed in New York City. Film maker and director. Necklace is an arabic word for beloved. I found this interesting because she is a Christian, and although arabic is not an Islamic symbol, it is a language that is usually more associated with Islam than Christianity. In a country that has struggled with religious tension, I thought this was a very endearing symbol of love.Anthony (shot April 18) – Lives in Houston, TX, photographed in Katy, TX. Anthony is a financial anlayst. He is pictured wearing a traditional hat. This image speaks to the variety of traditional Nigerian attire.Donald (shot on April 2), Lives in New York City, photographed in New York City. Donald is a musician working in the Afro Hip Hop/ Pop genres. Donald has a tattoo and earring, both of which express the individual, but would still be unconventional in traditional Nigerian culture. He also has on several necklaces, one of which is a “Jesus Piece”. Again these symbols do not make him any more or less Nigerian, and Donald as an Individual represents his own Nigerian identity.Niyi (shot April 21) – Lives in New York City, photographed in New York City. Niyi is a fashion deisgner wearing one of the scarves he created. His scarves are designed based on traditional Nigerian methods and patterns, and this image speaks to the variety of Nigerian attire, and the coming together of traditional and contemporary.
The homogenization of the skin tones in the project is Ima’s commentary on our society’s tendency to reduce people to just their colour.
