Woman Crush Wednesday: Silvia Rosi
Self Portrait as my Mother in School Uniform (2019). Courtesy of the artist. Originally commissioned through Jerwood/Photoworks awards 2020
Interview By Dani Martin
How has playing the role of both your parents in your images informed your exploration of your familial identity and diaspora?
My work is a process of understanding my family history and working on this project was for me a way to empathise with my parent’s experience in Togo and later on in Italy.
Looking at images from the family album portraying them I could study their posture, facial expressions and playing on our physical resemblance I could create something I had not seen before, which involved reimagining my parents at a time where I did not know them.
How do the objects in your images and the West African studio portrait style lend to your narrative?
West African studio portraiture is a great influence as many images from my family album share that same aesthetic. When I think about the history of studio portraiture in Togo, what I love the most is the democratic side of it, how affordable photographs were, and how photographers worked to give every customer the opportunity to look at their best in front of the camera. To create their own self image.
You could borrow objects like watches, radios, hats and different props that would symbolise a specific status or aspiration.
An image against a backdrop on which an airplane was painter might signify the desire to move abroad, a radio might symbolise youth life in the city. In my work I use objects in the same way. Every element in the image becomes a cultural signifier.
For example the tomatoes in the image “Self Portrait as My Father” symbolise the exploitation of migrant labour, whereas the radio in “Self Portrait as My Mother” becomes in the context of my parent’s journey a symbol of freedom of movement.
Self Portrait as my Father (2019). Courtesy of the artist. Originally commissioned through Jerwood/Photoworks awards 2020
What does the tradition of head-carrying represent in your photos and to your heritage?
In my photographs I used head carrying as a way of referencing a specific place which is the market of Assigame in Lomè. I have a particular link to the place, as it’s located in the same neighbourhood where my mother grew up and it’s were she worked, alongside my grandmother to save money and move to Italy. In the market merchants, mainly women walk the streets with heavy loads carried on their heads. This is done to move easily in the trafficked market, but also to reach as many costumers as possible and secure daily income. In my work I make a parallel between their condition and the one of migrants (like my parents) in their journey to find fortune. Through practicing head carrying I also try to regain a tradition I lost because of migration, but that still survives at present times.
Self Portrait as my Mother (2019). Courtesy of the artist. Originally commissioned through Jerwood/Photoworks awards 2020
Describe your creative process in one word.
Measured
If you could teach a one-hour class on anything, what would it be?
When I get better at it probably a wheel throwing class
Self Portrait as my Father on the Phone (2019). Courtesy of the artist. Originally commissioned through Jerwood/Photoworks awards 2020
What was the last book you read or film you saw that inspired you?
The last movie I loved was Farewell Amor by Ekwa Msangi
What is the most played song in your music library?
Green Apple by Amanaz
How do you take your coffee?
Single espresso, no sugar
Self Portrait as my Mother on the Phone (2019). Courtesy of the artist. Originally commissioned through Jerwood/Photoworks awards 2020
