Tell us about your approach to documenting these particular sites.

At first, I wanted to create something clever with the particular history of the sites, but I found myself doing what I always do with my work: generalizing our political Black history and documenting. And so, I decided to chase the weather and use it as an oppressive symbol. I specifically chose a time before a moment of rain or dark clouds hovering over the structures. This allowed me to pop them with a flash to give it shine in the midst of "distressed weather." Doing this allowed me to talk about the past in a visual way.

What were some of the challenges you faced as you did this work?

Traffic in Philadelphia was a challenge. All but Marian Anderson’s house was on a busy street. I invested in cones and had to use a ladder to get above the cars. In Pittsburgh it was hard to predict the weather and had lot of stakeouts, waiting for the perfect moment to photograph. My assistant and I waited the whole day for the photograph of the National Negro Opera Company House (NNOCH). The weather I wanted was happening, but it never stood above NNOCH, they mostly had a clear sky.

However, the condition of the NNOCH obviously shows how it was almost too late to save such a structure.

What was it about these individuals that attracted you to them for your portraits?

For the most part, I was attracted to these individuals, because they were in the area. James was sitting outside with his friend Ron just above the hill behind the New Granada Theater. I thought they looked great, so I asked to take their photograph. I saw Sandra when I had an appointment with someone else, but they never showed. Her photograph worked out perfectly, because the next day someone had mowed the field. Crystal is a friend of someone who lives next door to John Coltrane’s house.

Rodney walked right by me when I was waiting near Joe Frazier’s gym.

Why was it important to you to interact with the community members themselves?

I think it was because I started on The Hill District in Pittsburgh. August Wilson’s House, The New Granada Theater, The Crawford Grill were all in proximity of each other. I frequently hung out at Grandma B’s, a breakfast place on The Hill and it’s fun to learn from people in the neighborhood. It’s a great environment. And there is an interesting contrast between historical objects and life.

Out of all the photographs you took, is there one that really stands out to you?

Sandra’s red dress reminds me of August Wilson’s play "Seven Guitars". When I saw her, my mind went straight there.

What did you find to be the most valuable part of this fellowship?

The access to August Wilson’s house was really cool to experience. I—along with board members of the museum—got to see the space before renovation. We found old newspaper and wallpaper. The space of the apartment really tells of the time Wilson and his family grew up in. Last, I loved learning about Paul Robeson’s legacy.