![]() ![]() The way this became the Blood Orange cover was so interesting. Binky and Tony were in their 20s but I think I was trying to mimic the memory of that moment, that couple. They were all snuggled up, and the guy had his arms around the girl, and she had on these shorts-shorts. And there were teenagers - maybe they were 14, 15, or 16 - standing beside me in line. Once, when I was nine or ten years old, I was at an amusement park in Rochester, New York called Sea Breeze. I asked her to bring short-shorts because it goes back to another childhood memory I had. At first, I wanted to have her pose nude, but then I was like, You know what, this doesn't have to be a nude shot. I think the two things that are really important in the work is pose and the space.įor the photo, I asked Binky to wear short-shorts. I definitely use environmental spaces to be manipulated or to be arranged or rearranged in a certain way, if that plays off the body or the subjects or the pose. I definitely want to play off the viewer's familiarity, or memories of these sorts of spaces, so I guess I used that as material. I got it from a thrift shop, and there's something about the color and the lace that also went along with the aesthetic of the picture, you know? It’s kind of feminine, but then the olive green is sort of a weird. ![]() I didn't know Blood Orange at the time but, looking back all these years later, the MJ poster was a great fit. “Binky & Tony Forever” was made in 2009 so when I look at it now, I’m like, Why did I put the Michael Jackson poster up? I think was using a part of my own memory of popular culture while I was growing up, and what poster I would've had on my wall when I was a certain age. The only thing I inserted was the Michael Jackson poster. Often, I rearrange things in the environment but in “Binky & Tony Forever,” my bedroom pretty much looked like that. So the picture's actually in my apartment, it's my bedroom. When I asked Binky where she wanted to photograph, I don't think she was comfortable at her place, so we decided to do it at my apartment in BedStuy, Brooklyn. I usually find strangers, and I photograph in their environment. A lot of my work is about what I don't see in popular media culture, and to me I felt like I needed to make an image that was about embracing and intimacy and support, physically, between young people, particularly young black people. I wasn’t necessarily thinking of it as a direct narrative story. ![]()
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