The first time I encountered the term “remix” in relation to my artwork, I didn’t react positively. It’s not that I have anything against the concept; rather, I felt it didn’t quite capture the essence of what I had been exploring since I started my journey in digital photo collage. You see, in collage, much like I imagine it to be in poetry, it’s not just about re-mixing; it’s about reimagining. It’s about crafting an entirely new world with elements that offer textures but don’t convey a specific narrative. In many cases, when I approach the canvas, I don’t have a particular idea in mind, but rather a feeling. The same feeling that has guided me since childhood, a need to be curious. The same curiosity that allowed me to explore this medium when my creativity was clouded by uncertainty.

Since my freshman year of college, photography has been my primary form of creative expression. Whether I’m capturing cityscapes, textures during my walks, or unique sights, my camera is always by my side. However, the moment I shifted my focus to photographing people, my perspective changed completely. I discovered a new kind of life in the conversations I could create through my lens while being immersed in the crowds. Once, in New York several years ago, I noticed a woman sitting outside a convention I was attending, holding her camera and reviewing the images she had taken inside. I approached her and asked if I could take her picture. She agreed—on the condition that she could photograph me capturing her. The outcome was a picture I cherish deeply to this day, titled “Beautiful Eye.” In this practice, I realized my true purpose: to capture moments and, more importantly, to weave stories through a poetic lens.

Even today, being in the midst of a bustling crowd, camera in hand, provides a wonderful creative jolt. So, one can imagine the impact of those crowds disappearing, when the world suddenly came to a halt, everyone isolated, the whole of humanity confined indoors. The COVID pandemic changed the game for all of us, and many, like myself, had to seek respite in our moments of sullen solitude. During those early days, to pass the time, I dove into my photo archives, organizing and rediscovering vivid experiences I had caught on camera. One day, I stumbled across images of a figure named Dapper Afrika, who has since passed away. Among these photos, one particular image struck me. It was the introspective expression on his face that sparked a deeper reflection. In that instant, looking at that image, I felt inspired to create something new. I would create a collage. Still, instead of printing it out and making a collage the traditional way, I decided to use my computer. Motivated by this idea, I opened Photoshop on my laptop, carefully cut out his face, and placed it onto a blank digital canvas. Then, I began searching through my photo archives for interesting textures to build around the image. One by one, I experimented with cut-and-paste techniques: “This looks good,” I thought, only to reconsider and say, “No, take that out, let’s add this instead.” Occasionally stopping to look at my progress, and after hours of refining, I finally completed the piece. Little did I know that this moment would be such a transformative one in my artistic journey.

With this fresh creative process in hand, I became that curious kid again. This time, I decided to use my surroundings to fill my palette, and my camera would capture what I needed for my artwork. Just imagine discovering beautiful colors and textures on the side of a building, then capturing 50 different images of that area to use for future pieces. I don’t usually have a specific concept in mind when I take these photographs; I just know they speak to me, and eventually they’ll find their way into one of my works. There’s an intricate rhythm that occurs during the creation process, which can be blissful, therapeutic, and even chaotic. Much like poetry, this rhythm needs to be expressed, often amid a whirlwind of creativity, seeking to uncover a narrative. One piece that exemplifies this is titled “Art Is for the People.” The intention behind this work, was to reinforce the idea that the essence of art should never be gatekept by elitism. Art is a universal language that has the potential to break down barriers and resonate with audiences on a deeper level, illuminating new perspectives. It is this universal language of art that helps to foster and cultivate connection rather than sowing discord and division.

I’ve also found that writing can serve as a bridge, helping people to more easily connect with my art. While I believe that art should speak for itself, there are moments when some guidance is essential. When presenting my work to traditional art enthusiasts, many struggled to move past the label of “digital” and engage with it without bias. Over time, I’ve learned that what I was presenting was, in essence, a new language, which many were reluctant to embrace. This realization led me to understand that my work is also a reflection of our humanity in a digital age. And that by expressing myself through a digital canvas, I acknowledge that technology can feel cold, but only if it lacks the warmth of a human touch.

As was stated earlier, it’s hard to classify my art as mere remixes. When exploring a perspective that resonates with a younger version of myself, the language may not be widely understood. However, for those who grasp the work’s concept, an engaging experience awaits. It’s fascinating to see how this shift in creative focus has led to nearly 200 completed works, 13 gallery exhibitions—including a solo exhibit—and even a museum acquisition. All of this stemming from the artistic decision to create collages in a nontraditional manner, trusting my intuitive creativity, and being willing to look back and see new possibilities. I discovered my voice not by relying on others’ interpretations, but by utilizing my own photographic vision to capture the images necessary for these creations. This is why it isn’t just a remix; it’s a true reimagining.

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James Charles Morris is a multidisciplinary artist, curator, and art historian from Detroit, Michigan. His work has been shown in the Charles H. Wright Museum of African American History and the International African American Museum.

 

 

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From Magma 94

 

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