© Matias Alfonso
Nahir Francis is a multimedia artist who works in a wide range of media including photography, sculpture, sound composition, videography and live performance. For the SLEEK exhibition “Untitled (Matchstick)” Francis immerses the audience in a sensory experience spanning visuals, sound and performance that inspires onlookers to reflect on the present state of our environment. Through this, they invites the audience to interact with and contribute to the experience.
Share some insights about your contribution to the exhibition.
I am preparing a performance with a sound piece that will play a major role. It is entitled My Obsidian, a volcanic rock considered in many spiritual and ancient practices to absorb negativity and block spiritual attacks and also create clarity. The idea is to create a space of lucidity, because I think we need that on a global level. I am not focusing on presenting some sort of answer to our world problems, but rather a reminder that we are part of an ecosystem, of a cosmic balance, and to acknowledge where we stand and how we interact with it. Sound can be heavily stimulating, and I try to make use of that in my work. It can influence the way we experience other art mediums, especially visuals. It has an impact in shaping the tone and atmosphere of a space that it almost becomes physical. This exhibition is about sharing an experience, because this is not just about an installation you solely look at.
© Matias Alfonso
I am not focusing on presenting some sort of answer to our world problems, but rather a reminder that we are part of an ecosystem …
How does your background influence your work?
I am creative by birth. I was sensitive as a child and still am in many ways. My dreams influence my life, and my life influences my dreams. I am originally from Philadelphia and was surrounded by the DIY club and art scene there and in New York. Those experiences and moments of self-discovery certainly influence my work.
I have a political science background and briefly worked at my district attorney’s office around the time of my university years. I started realising myself as a visual artist through my friends: photographers, dancers, fashion designers, musicians. I didn’t fully embrace it until I was modelling for one of my fashion designer friends and started to move behind the camera for their campaign. I believe I am often consciously and subconsciously leaving traces of empowerment in my work for those still discovering themselves or are self-taught creatives.
What relationship do you see between performance and sound art?
This is a very personal element for me as a human being. I am sensitive to sound and movement. They are beautiful methods of storytelling. By using them, I can sometimes eliminate the need for words or limiting explanations. I can directly tell a story with sound or movement to appeal to universal emotions, not just the brain or through the construct of language. The performance and the sounds are always present behind the scenes, always influencing the experience.
© Matias Alfonso
What about the role of sensory reactions and emotion in your work?
It’s everything! Are we even humans if we aren’t interacting with either our own emotions or the emotions of others? Emotions are powerful tools to help people make decisions. If I want to encourage change, empathy or self-reflection, it is likely achieved through emotions and activating the sensory system to help the person become aware of the present moment. My method is to appeal to as many senses as I can, because to me there is beauty in this state of total stimulation: bliss, nirvana, it almost becomes nothingness and everything at once. Dichotomies and multiplicities of existence. Not present in this particular installation at Wilhelm Hallen is the sense of smell, however. When I am performing I am always wearing a specific scent.
Are we even humans if we aren’t interacting with either our own emotions or the emotions of others?
And finally, what about the audience?
I want to do my best to activate the audience’s curiosity but also their sense of self. I see it as a chance to develop community or demonstrate unity within a moment. I also want people to feel empowered to create or use their voice. Contribution matters.
I try to empower the public to engage with works, even if it’s as simple as using the reflection of a mirror to incorporate the viewer as an active part of a sculpture. In that case, even if my work is too nuanced, the audience is still literally able to see themselves in relation to the piece. My purpose often is to remind the audience that their interactions create the experience of the medium.
I try to empower the public to engage with works, even if it’s as simple as using the reflection of a mirror to incorporate the viewer as an active part of a sculpture.
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SLEEK and UGG unveil an unique exhibition focusing on the environment, social sustainability, and power structures.
The exhibitions features three Berlin artists: Zuzanna Czebatul, Eric Winkler, and Nahir Francis.
Commissioned by UGG, whose new Feel Good Future platform is dedicated to both people and the planet, the exhibit, “Untitled (Matchstick)”, curated by Hans Krestel, will reflect timely themes encompassing the pervasiveness of power structures and the growing sustainability movement.
Get your copy of SLEEK #70 HERE