Lens On: The creatives to know representing women of colour
I’m Elizabeth Wirija but I go by Eli. I’m a photographer and artist of Indonesian decent. I focus on many mediums based in New York. I strive to make imaginative art that initiate thought and emotions while speaking on social issues.
I’m Fenn O’Meally, a filmmaker, journalist and model, half Jamaican, half British, living in London. I just want change the dimensions of story telling, whether through an interview, over the mic on radio, in front of or behind the lens. I want to connect with people and open dialogue in a way that is refreshingly honest. You know, cut the bullshit…
E. Hey! How are you?
F. Great thank you! How are you?
E. I’m good. Constantly ideating and dreaming and doing. I’m also reflecting on a lot of things in my life, feeling the emotions that need to felt and releasing when needed.
E. What have you done since you’ve been back in London?
F. To be honest it’s been mental, I landed back straight into Fashion Week, then interviews for 1Xtra- dancer and artist, Mette Towley, Oshun, Leomie Lewis and then interviewed Tom Sachs on his collab with Nike for Highsnobiety. So it’s been research, interview, research interview and the odd event.
F. What have I missed in NYC?
E. New York stays changing at an incredible speed. But at the same time, it’s all a cycle. So, you haven’t missed much!
E. Describe your place in your creative industry and how you plan to revolutionize it in your own way?
F. I guess in answer to the first part of that question, I’d say I’m a story teller, whether in front of the camera, behind the camera, over the mic I just want to communicate with other people and tell a story. When it comes to revolutionising it I think that’s down to staying 100% authentic in regards to my values and goals. That and also having this 360 approach to the media world, filming, directing, presenting, interviewing, editing, producing – having a diverse skill set definitely has helped me revolutionise my perspective of creative forms of work.
F. Describe your first encounter with the camera… How has your perspective of the lens altered over the years?
E. My first encounter ever was probably as a baby, my dad would take photographs of us growing up. We have an extensive photo album of my early years. I remember there was film cameras on deck to capture every moment. I was always fascinated by the process, how when it’s finally developed – I was witnessing intangible time transformed into a physical thing. I finally got my own camera at 15, I taught myself the technical basics to shoot manual and aimed my camera at everything. It was an on and on love affair until I took it seriously at 19. My perspective changed in a sense that I started understanding the power of photography and how it can convey a message, how it influences people consciously of subconsciously. With great power comes great responsibility.
E. Tell me about the is the creative (music and visual) scene in London? Is it inclusive to all people or is it dominated by certain gatekeepers?
F. You know I think it is all about being a people person. As in NYC, in London collaborating is a key catalyst for creation. I love London for that, as long as you have drive, good social skills and a some kind of portfolio of work under you belt you’re good.
F. What does NYC offer you as a young creative of ethnic minority? Do you think your ethnicity influences your vision?
E. You can be anything here, there’s nothing off limits. But if you are a woman of color, you have to work three times as hard as everyone else to get where you want to be. The community is wonderful, I found a group of other creative women that I value and cherish. Other than that, I keep to myself. There is unlimited opportunities in New York, it’s all about how you can access it. The scene can get oversaturated at times and some use it as an ego trip. New York can be incredibly distracting as a creative, I often find myself in my own sacred space trying to re-align and focus. Connecting with other genuine individuals is ultimately very rewarding though. My ethnicity influences my vision heavily, I’m learning and unlearning a lot of ancestral trauma while adopting historical knowledge. Simultaneously being cognizant of others and how I can highlight their own stories and culture. It’s crucial to be in touch with your roots and not reject it.
E. You’ve shot the likes of Ugly Worldwide, Drew Hemingway and interviewed the likes of Kim Jones and Beyonce’s Choreographer Jaquel Knight. Who do you desperately want to interview next?
F. Dev Hynes for sure – he is a genius. His expression and understanding of what is means to be an artist is next level.
F. What was going through your mind when you shot SZA? Who is next?
E. I was just in the flow of it all. I try my best to feel out her frequency and channel that 100% through my lens. I often think of photography as a give and take and transfer of energy, it needs to be at an equal rate or not it’s imbalanced. Hopefully, Sade or Frank Ocean – they’re my all-time favorite and their music allows me to dive into my deeper self.
E. How do you feel about brands and companies using social political inclusivity as a means of clickbait?
F. I think we’re currently at a time where we are in this limbo of filling quotas and ticking boxes when it comes to inclusivity. It’s a tricky one, because we’re moving, achieving and improving but at the same time we are celebrating these “movements” that should be norms and that to me feels somewhat wrong.
F. You’re a woman working in film and photography. How do you feel about the representation of women in the industry?
E. It’s getting better with time. There is still a wage gap and when you try to demand your worth, there is an automatic distaste in their response. Women are so used to diminishing their own strength to make others comfortable, but I want us to start pushing that away and be unapologetic with our art. I experience being disrespected on set before where I am the main photographer but I don’t get acknowledge or my opinion does not matter, it’s not often but it still happens. When the industry does give a woman a big campaign, it’s often the same women over and over in the roster – there is no diversity in terms of hiring. So that needs to change.
E. As a WOC, have you experienced being disrespected or discriminated in a professional environment? If so, how do you overcome it?
F. I am lucky enough to say I haven’t solely just for my ethnicity. As a woman however, I have. I think that’s simply because I am in a male dominated industry. I think being a young woman in her 20s with a fairly sizeable kit of equipment makes many people double take in a male dominated scene. It’s frustrating because it makes you question your capability, well at least it did for me at first. But the most important thing is to remember why you were chosen for the job and then to nail… better than any guy in the room 😉
F. What kind of discussions do you have with your subjects? The most memorable?
E. I ask a lot of questions when it comes to learning more about the person I have the chance to photograph. It revolves around their memories, experiences, passions and many more. Every single one is memorable in their own way, I can’t single out one because they are all meaningful. I appreciate all the souls that opened their heart to me.
E. Our generation can be denoted as an overtly sensitive to issues but would you say we are proactive?
F. I think we just have a number of platforms now that allow us to express and open dialogue on issues that have, for so long, been muted. I wouldn’t call it overtly sensitive at all, it’s so positively proactive. You look at Adwoa with Gurls Talk, Liv Little with Gal-Dam, The Slumflower, Loyle Carner, Jordan Stephens, the list goes on. What they are all doing is opening dialogue that provides a sense of community and understanding, you can’t fault that.
F. When did you realise you were driven? And what drives you?
E. I was drawn to creating ever since I was young, I was the kid drawing on walls with crayons because I wanted to create my own world. I realized that art was my calling in my teens, I knew I felt free when I did it and that’s inherently all I wanted. Love drives me, beautiful conversations, laughter, kindness, my ancestors, the earth and all the people who tell me how my art have inspired them.
E. In an age of oversaturation but also accessibility in the industry, do you think intention or execution reigns? How does an artist achieve both?
F. I think intention 1000% and in that sense always quality over quantity. In regards to an artist achieving both I think it’s down to what makes them happy, what’s rewarding for them? I know for me it’s collaborating and sharing stories, meeting new people and learning. From that I get my best work. But it’s so important not to rush it – something I find so hard.
F. Which figures have altered your perspective of the creative space, both in music and fashion over the past three years?
E. To name a few: Wong Kar-Wai, Brockhampton, Ib Kamara. Tierra Whack killed it when she dropped Whack World and each track was a minute long, and also making that music video of a compilation of all the songs (16 mins). I admire figures that challenge normalcy and execute in new ways.
E. What’s your daily mantra that gets you through the day with power?
F. I wouldn’t say it’s a mantra as such, but without good music and a run my day hasn’t started. I feel so powerful when I run, it’s where the inception of most of my ideas happen.
F. If you had to choose one of the following three would you…
– Shoot Beyonce
– Shoot a campaign for Versace
– Assist Cass Bird
E. Shoot Beyonce for sure. She’s an icon of our time that holds a great deal of influence. Her work ethic is insane too, it’s truly admirable.
You can follow Fenn O’Meally on Instagram here (and check out our Hunger TV interview with the filmmaker, journalist and model here) and follow Elizabeth Wirija on Instagram @elizabethwirija.
