SMILES & MOTIONS: TYPE 108
Rayno Malone
“The world is full of painful stories. Sometimes it seems as though there aren't any other kind and yet I found myself thinking how beautiful that glint of water was through the trees.”
― Octavia E. Butler, Parable of the Sower
SMILES and MOTIONS: TYPE 108 is both an impromptu proclamation and a therapeutic experience of a young person’s outlook on modern times. As a New Orleans native, Rayno Malone has always been motivated by his hometown and the people in it. Inspired by his tenets of protecting optimism and authenticity, Malone believes in the power of telling and passing down narratives to the ones after us. And to achieve that, he wants to be in the center of what is currently happening; he wants to be a part of the positive retelling of these stories. Malone seized the opportunity to analyze how his generation is handling the life-altering pandemic to remind us that “there is light at the end of the tunnel; that there is always somebody smiling about something.” For Rayno, we are still human and we are allowed to be happy.
By using the Polaroid Big Shot and Nishika N8000, Malone successfully captured the vibrancy, rebelliousness, and spontaneity of the subjects. Known for its colossal size and impracticality, the Polaroid Big Shot has been used by artists - most notably artist and inspiration to Malone, Andy Warhol - to establish their eccentric styles. Malone wanted to capture story-telling, authenticity, and the spirit of youthfulness from his human subjects and knew the PBS could help him do so.
The Nishika N8000 was used for the 3-D images and exceeded Malone's expectations of displaying a more in-depth and personable experience with the subject. Malone wanted to use this camera to practice traditional shooting, as opposed to digital. He was taking a chance, not only shooting in the film but being amongst rebellious behavior; often the only one wearing a mask. The imagery does not shy away from that which is paradoxical: New Orleans youth are still able to innovate despite the lack of resources created by the COVID-19 pandemic. Malone thought it necessary to document how, like much of the history of this city, black residents and youth must still follow their passions despite the failures of leaders who have the power to enhance the passions of the people instead of hindering them.
The captivating essence of New Orleans during these unprecedented times is bittersweet. From the gold fronts and chains to renaissance man Loudiene showing off his firearms, it is symbolic of more whimsical times before COVID-19 and perseverance during. ”Every time I look at this photo, I always instantly become more positive. This dude has been through three times more than I ever have. He’s a walking miracle.” This was the first photo Malone captured, and it is a strong representation of our current situation: remaining positive despite tragedy and trauma. New Orleans is an undeniably special place, that deserves its proper dues so that its Black residents no longer have to push through the hard times, but can begin to thrive again.
The animated expression on model Co Michelle’s face, playfully sticking out her tongue is a symbolic statement of the thought process of many 20-somethings. The conflicting journey of living out youthfulness, while also going through a racial reckoning. Seeing countless Black bodies being executed live on social media, and the lack of control in one's future; The collapsing of overwhelming feelings and events caused escapism in Black people. Malone wanted to prioritize his mental health, and in doing so, he found himself asking the same questions: Are Black Bodies allowed to be avoidant of reality? What does freedom look like for us? Is it healthy? Should we feel guilty?
“And for so long I have wanted to escape into the Dream, to fold my country over my head like a blanket. But this has never been an option because the Dream rests on our backs, the bedding made from our bodies.”
― Ta-Nehisi Coates, Between the World and Me
These questions provide countless conversations about the Black experience which has been historically tied to adversity and perseverance. Malone wants to keep pushing the message of unapologetic positivity by practicing adaptability, a form of perseverance and survival. A method our elders and ancestors know all too well. These stories are necessary, it offers perspective to the older generation who’s the driving force behind New Orleans culture while reimagining productivity and resourcefulness.
SOURCES:
JERKINS, MORGAN. THIS WILL BE MY UNDOING: LIVING AT THE INTERSECTION OF BLACK, FEMALE, AND FEMINIST IN (WHITE) AMERICA. HARPERCOLLINS PUBLISHERS, 2018.
SUMMARY AND ANALYSIS OF TA-NEHISI COATES' "BETWEEN THE WORLD AND ME". SUMMARY STATION, 2015.
Rayno Malone
My name is Rayno Malone I am a photographer and creative artist from New Orleans. I work in digital and film photography using old school cameras such as the Polaroid Big Shot Land Camera and the Nishika N8000 (or the 3D camera). I use these cameras to tell my story because I believe film is the most beautiful and honest way to tell a story through photographs. My work is about capturing my generation’s candid moments and telling its story through my lenses. Just as Andy Warhol did with his famous Polaroid Big Shot I drew inspiration from his photo work and how he was able to capture expressions and feelings of all the many celebrities that came through his studio. Some of his work such as his Polaroids of Mick Jagger, Muhammad Ali, Basquiat, Grace Jones, and more are some of the most unique images ever captured of these artists. I believe that the artist is important in bringing out these emotions but I also feel the beauty and chemicals of the instant film help bring more realism to the image.
Cammy White
CURATORIAL FELLOW
Originally from Baltimore, MD, Cammy White (she/her/hers) is a New Orleans based multimedia artist, curator, and program assistant with a BA in Visual Art/Art History from Dillard University. Her practice revolves around giving marginalized groups a platform, making intellectual spaces museums more inclusive and accessible. As a creative, Cammy's work encompasses inserting yourself into white spaces and rightfully taking your seat at the table by uplifting the Black community financially, intellectually, and conceptually while intersecting personal interest in fashion and art history. She plans to insert the conversation of fashion, history, art, and sustainability using museums and galleries as my platform to communicate and promote the importance of preservation in the Black community. While also giving Black and non-Black POCs fashion enthusiasts the opportunity to discuss innovation in fashion and the Arts.
