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Artists in Residence Shawn Theodore

07.12.2020
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SHAWN THEODORE is an interdisciplinary artist who incorporates photography, collage, and sculpture to create “afromythological” environments, photographs and objects. Theodore’s portraiture merges real or hypothesized black experiences, often set within environments under threat of disappearance. His work explores the contradictions and nuances involved with constructing representations of blackness.

 

 

The Artist in Residence Program is lucky to have four works by Theodore in its collection. Shawn was kind enough to share his thoughts on his creative process as well as current (and not-so-current) events.

More Work by Shawn Theodore

 


 

 

Describe your process for capturing candid shots from Philadelphia streets including any anecdotal background on Graceful in West Philly and Train, Fight, Win, Repeat.

My street photography process and practice are centered on the connection between self, subject, and our community. Candid photography, in my opinion, depicts subjects in the most realistic and genuine ways possible. When I was fortunate enough to photograph ‘Graceful…’ I was actually on a small gig shooting portraits for a local DJ. There was a group of kids who kept riding past, doing their best stunts and trying to get our attention. Luckily, they did, and I captured that moment.

With ‘Train’, I felt compelled to photograph the young man who, not unlike the fictional boxer Rocky, was in training, running through the streets of his community, gathering all of the attention from his neighbors as he passed by. I happened to be in a car, sitting on the passenger side and I caught a glimpse of him coming up along the sidewalk. I made that shot with seconds to spare before he passed. I feel this is an iconic image that captures the city and it’s unknown heroes, the underdogs, the people who never quit. That’s how I see my city and I saw all of that in him.

 

 

Prayers to Hushed Saints and Being Black is Lit are from a series of yours called “Future Antebellum.” We are intrigued…tell us more.

I made the majority of the work in 2016 inside of the historic Freedom Theatre. The concept was of a dystopian nation regressing into its former ways and methods, post-Reconstruction. The difference in this timeline is that Black people found solace and strength through mythology, specifically ‘Afromythology’ a practice that is a missing component of actual Black life. The series is a depiction of allegorical moments set in this fictional, yet timely, timeline. Sadly, it’s all too real given the current circumstances.

 

 

You frequently travel for projects. How has the pandemic impacted your creative process and what are you working on right now?

The virus halted my commercial work in progress and my studio practice. However, much of the work that I completed for RocNation, Showtime and other clients has started to make its way into the media. I’ve been working on my role as a gallery director in LA in this uncertain time, and charting a new course in the uncertain virtual market many, if not all, galleries have found themselves in. Once I’m able to be in the studio again, I’m looking forward to picking up where I left off in January.

Can you share some thoughts on the recent events related to the Black Lives Matter movement?

My thoughts around current events are that none of these events are actually current. It’s just that everyone except Black and Brown people are finally seeing what we’ve seen and always known.

It’s bizarre to recall the grand opening of Artists in Residence back in November. None of us knew what 2020 would bring. All things being equal, what has it meant to you to be part of the inaugural Artists in Residence cohort?

The Artist in Residence Program is a meaningful and worthy endeavor. I cannot express how thankful I am for the engagement that has come from such a unique sense of inclusion that the Club maintains. The thoughtfully curated program has also introduced me to artists I’ve heard of and never met in person. Without the social aspect of the club, I don’t know where or when this could have happened.

 

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