A Lens on Inclusion: Omar Victor Diop's Daring Photographic Intervention

In a bold and thought-provoking artistic endeavor, Senegalese self-portraitist Omar Victor Diop has collaborated with British photographer Lee Shulman to create a series that challenges historical narratives and confronts societal boundaries. Titled "Being There," this remarkable project inserts Diop's presence into a collection of mid-20th century American family photographs, offering a poignant commentary on the exclusion of Black individuals from certain spaces and experiences.

Conceived as a joint effort between Shulman and Diop, "Being There" draws inspiration from Shulman's "Anonymous Project," a collection of Kodachrome slides purchased on eBay depicting intimate scenes from 1950s and 1960s America. Intrigued by the recurring presence of empty seats in many of these photographs, Shulman saw an opportunity to explore the absence of marginalized communities from the privileges and spaces historically reserved for White Americans.

Through meticulous digital manipulation, Diop's figure is seamlessly integrated into these candid moments, occupying spaces where Black people were often barred or unwelcome. From ski holidays and Hawaiian jaunts to modest roadside picnics and zoo visits, Diop's presence in each frame challenges the viewer's assumptions and invites contemplation on the dynamics of race, privilege, and belonging.

"We tend to have this glamorized gaze towards history. And in doing so, we forget how it's easy not to make room for someone who's different," Diop reflects. "The series is an invitation to look at our lives nowadays and see how many people different from us we allow into our intimate circles."

The series extends beyond mere recreation, transcending the boundaries of time and space to confront the viewer with uncomfortable truths. Diop's presence in historically segregated settings, such as public swimming pools, college graduations, and busy bars, serves as a poignant reminder of the systemic barriers that once existed and, in some cases, persist to this day.

Ironically, inserting Diop into these spontaneous shots required intricate planning and preparation. Period props, costumes, and meticulous digital post-production techniques were employed to seamlessly blend Diop into the photographs, replicating the distinct aesthetic of Kodachrome film while accounting for shadows, blur, and movement.

The ambiguity surrounding Diop's role in each photograph—whether as a welcomed presence or an intruder—adds depth and complexity to the narrative. "One of the reasons it works is that gaze he sometimes has towards the camera," Shulman observes. "You feel that he knows the photographer." Alternatively, if Diop is perceived as a time traveler, the photographs take on a conspiratorial air, inviting the viewer to become a co-conspirator in this daring artistic intervention.

Beyond its artistic merits, "Being There" carries a powerful societal resonance, challenging viewers to confront their own biases and preconceptions. As Shulman aptly notes, "Every time I look at these images, even without Omar in them, I feel these people are looking at us and telling us something about history."

In a poetic twist, the anonymity of the White individuals in the photographs subverts the historically hegemonic Western lens, which often stripped away the nuances and complexities of people of color. By withholding details about these individuals, the viewer is forced to rely on signs and symbols, echoing the homogenization and oversimplification that marginalized communities have endured for decades.

Shulman and Diop's collaboration serves as a potent reminder that, despite the passage of time and the outward appearance of progress, much remains unchanged in the realm of inclusivity and equal representation. "It's a very contemporary project," Shulman asserts. "It has a lot of relevance to the world we live in today."

Through the daring and provocative lens of "Being There," Omar Victor Diop and Lee Shulman have crafted a powerful statement that transcends artistic boundaries, challenging societal norms and inviting introspection on the enduring struggle for true inclusion and belonging.