Aperture—Carlos Idun-Tawiah’s Retro-Inspired Vision of Ghanaian Youth
Aperture—Carlos Idun-Tawiah’s Retro-Inspired Vision of Ghanaian Youth
Aperture—Carlos Idun-Tawiah’s Retro-Inspired Vision of Ghanaian Youth
Sep 7, 2023
Sep 7, 2023
Sep 7, 2023
Carlos Idun-Tawiah’s Retro-Inspired Vision of Ghanaian Youth
Incorporating his experience with fashion photography, Idun-Tawiah’s images combine stylized flair with the intimacy of personal pictures.
Family albums are the starting point of the series Sunday Special (2022) by Carlos Idun-Tawiah, who draws on the semiotics of earlier Ghanaian photographers’ work to create his own visual language. It’s a language that resonates with a bygone time but is also deeply contemporary. Incorporating his experience with fashion photography, from Vogue to GQ to Harper’s Bazaar, Idun-Tawiah’s photographs emit the highly stylized tone of editorial spreads and, at the same time, the intimacy of personal pictures of friends and loved ones.
Idun-Tawiah who is based in Accra, was born in 1997, exactly forty years after Ghana’s independence. His vision is steeped in nostalgia—both personal (depictions of young people attending school, visiting the barber, playing soccer, or going to church) and collective (poses, fashions, and hairstyles). He conjures visceral recollections held in his memory yet out of reach. The photographer does this not just through his aesthetic approach but by constructing whole stories, biographies, and characters, by bringing in costumes and sets, and by having his subjects freely inhabit the roles they are playing. These scenes have, both in composition and intent, a multilayered and multifaceted resonance.
Carlos Idun-Tawiah’s Retro-Inspired Vision of Ghanaian Youth
Incorporating his experience with fashion photography, Idun-Tawiah’s images combine stylized flair with the intimacy of personal pictures.
Family albums are the starting point of the series Sunday Special (2022) by Carlos Idun-Tawiah, who draws on the semiotics of earlier Ghanaian photographers’ work to create his own visual language. It’s a language that resonates with a bygone time but is also deeply contemporary. Incorporating his experience with fashion photography, from Vogue to GQ to Harper’s Bazaar, Idun-Tawiah’s photographs emit the highly stylized tone of editorial spreads and, at the same time, the intimacy of personal pictures of friends and loved ones.
Idun-Tawiah who is based in Accra, was born in 1997, exactly forty years after Ghana’s independence. His vision is steeped in nostalgia—both personal (depictions of young people attending school, visiting the barber, playing soccer, or going to church) and collective (poses, fashions, and hairstyles). He conjures visceral recollections held in his memory yet out of reach. The photographer does this not just through his aesthetic approach but by constructing whole stories, biographies, and characters, by bringing in costumes and sets, and by having his subjects freely inhabit the roles they are playing. These scenes have, both in composition and intent, a multilayered and multifaceted resonance.
Carlos Idun-Tawiah’s Retro-Inspired Vision of Ghanaian Youth
Incorporating his experience with fashion photography, Idun-Tawiah’s images combine stylized flair with the intimacy of personal pictures.
Family albums are the starting point of the series Sunday Special (2022) by Carlos Idun-Tawiah, who draws on the semiotics of earlier Ghanaian photographers’ work to create his own visual language. It’s a language that resonates with a bygone time but is also deeply contemporary. Incorporating his experience with fashion photography, from Vogue to GQ to Harper’s Bazaar, Idun-Tawiah’s photographs emit the highly stylized tone of editorial spreads and, at the same time, the intimacy of personal pictures of friends and loved ones.
Idun-Tawiah who is based in Accra, was born in 1997, exactly forty years after Ghana’s independence. His vision is steeped in nostalgia—both personal (depictions of young people attending school, visiting the barber, playing soccer, or going to church) and collective (poses, fashions, and hairstyles). He conjures visceral recollections held in his memory yet out of reach. The photographer does this not just through his aesthetic approach but by constructing whole stories, biographies, and characters, by bringing in costumes and sets, and by having his subjects freely inhabit the roles they are playing. These scenes have, both in composition and intent, a multilayered and multifaceted resonance.