I don't know how many videos of police officers killing black people I have watched, but I know the power these images possess. They are injurious, yet informative, shifting how I navigate my own black body through this world. As I deal in researching and making images, this profound effect born from the visual was curious to me, compelling me to dig past the image's surface. What I found were inescapable parts of American history: moments pockmarked the theft of black life by white hands, and the photographic documentation of that violence.

The oppression of black individuals in America has continued to evolve, and to better understand the expanding perpetration of anti-black violence, we must perceive it dichotomously between fast and slow [1]. The presence of risk makes fast violence easy to understand. The wide gap between cause and effect makes slow violence less comprehensible. Photographing in the historically black neighborhood of North Omaha, Nebraska, I evaluate the fallout of prejudicial housing policies—known as "redlining”—that have affected this place and posit them as a form of slow violence.

At No Point In Between prompts inquiry into the antinomy that exists in recorded violence: how documentation of anti-black violence was used to shame black individuals, but how we have used those same images inversely to interrupt the collective belief of a racial hierarchy. I accomplish this by challenging the photograph's use as an objective document; addressing the convergence of the physical and social landscape; and reinterpreting complex narratives about race, power, and violence. Creating a collection of images scrutinized in both their historical and contemporary contexts, I metaphorically connect the body and the landscape, fast and slow violence. By intertwining witnessing and critical analysis, I provide a deeper understanding of systemic white supremacy and the resulting violence therein.

[1] Nixon, Rob. Slow Violence and the Environmentalism of the Poor. Harvard University Press (2011).