I’m so glad that I occasionally go back and look again (and more intently) at specific photographs if something triggers my memory. I look at a whole lot of work (and then a whole lot more), and while I do my best to bookmark my brain in an effort to keep track of all the outstanding imagery I’ve seen, I find it pretty much unreliable. That’s why it’s great to keep up conversations with new and established photographers as much as possible. I’m only human (more on this in a moment), and I recently had a chance to look again at the 2020 Critical Mass Top 200. Thank you, Photolucida! This time around, after a brief exchange with Granville Carroll, I remembered his work there. I immediately knew that he was someone I needed to learn more about, and that is why we are here now. Plus, he’s got a pretty damn cool name if you ask me. Unrelated, but that’s a bit of my ADD kicking in.

Granville brings to us (in my overly simplistic way) an examination of who you are as a person and one who wishes to be a positive and productive member of the human race. Though topics such as Blackness and racial inequality are being addressed, it goes way beyond this. With both our physical and spiritual realms, self-examination is examined, and their connection comes into play. Frankly, I don’t know why anyone would not want to learn about these themes to fulfill their lives and those around them in only the best way possible. I can only speak for myself, however. But don’t you think that making an effort to step outside of yourself to see what others are seeing is an excellent way to become more self-aware? I sure do, and that, along with the fact that he creates beautiful art, are reasons for finding out what this awareness might bring - both from a personal standpoint and one that helps define who we are and what we contribute to the discourse of modern society. Sounds like a lot, right? It is, but thankfully Granville helps provide the tools, and I, for one, am thrilled to have had a chance to learn about an artist who has done the work and presented us with something profound.

Bio -

Granville Carroll is an American photographer and educator currently based in Rochester, NY. He uses digital compositing/photo-manipulation to create new realities and origin stories. His work addresses themes of identity construction, Afrofuturism, spirituality, and space/place. Carroll received a AA from Mesa Community College, a BFA in Photography from Arizona State University, and a MFA in Photography and Related Media from the Rochester Institute of Technology. Carroll recently placed amongst the Top 200 photographers in Photolucida's 2020 Critical Mass. Carroll’s work has been exhibited nationally in the United States and has recently been featured on Lenscratch, Photo-Emphasis, Humble Arts Foundation, and In the In-Between.

Interview -

Michael Kirchoff: I notice that it appears you have been perpetually making work and furthering your academic studies with a recent MFA degree. Congratulations on that, but in starting this interview, I wonder what got you started in the visual arts to begin with?

Granville Carroll: Thank you! Yes, it’s been a long journey to get to where I am at. Honestly, this is not how I envisioned my adult life to be, but I am very happy and grateful to be in the space that I am in. Life has a funny way of directing you to exactly what you need sometimes. As I reflect on my artistic journey, I realize that it started much earlier than I had realized. I loved making art as a young child/teenager. I always found myself filling up my electives in grade school with art classes. I was introduced to painting, ceramics, stained glass, and drawing. I wasn’t particularly amazing at any of them but I enjoyed the process of making. As an adult looking back, I realize that I was in awe watching and learning how our minds manifest a thought and bring it into physical form. However, I never thought of the arts as a career path or something to pursue as a hobby. I didn’t nourish that curiosity and excitement until later.

It wasn’t until after I moved from my home state of Washington to Arizona in 2011 that I actually began thinking about art more seriously. I was a young 18-year-old who decided to leave everything he had known to embark on a new adventure. When I arrived in Arizona, I was shocked by how different the landscape was in comparison to the lush Evergreen state. Once I got settled in the desert, I started taking pictures of this weird foreign landscape on my smartphone. I remember showing some of the pictures to a co-worker and she insisted that I take a photo class. In 2012 I enrolled in the local community college so I figured why not. I was hesitant at first but I thought it may be nice to finally commit to a hobby and develop a new skill. In 2013 I took my first photo class and fell in love with the process. This newfound love prompted me to take another photo class, so I enrolled into Intro to Digital Photography the following term. In that class I learned about photo manipulation and it opened my eyes to a world of possibility. It was from that point on that I decided to change my major from psychology to the arts and pursue this as a career instead. There was a fire that photography ignited within me that I wanted to fuel. I knew I was walking into a world I didn’t fully understand but the excitement of something new pushed me to break the barrier of fear. I wasn’t sure where this path would lead me or if it would be worthwhile. I came to the conclusion that the unknown is a beautiful space to exist in; it’s where possibility is endless. The thread that I see woven through this synopsis of my journey is curiosity. In short, the passion to explore my curiosity is what lead me to the visual arts.

MK: What is the one thing you wish you knew when you started making photographs?

GC: I wish I knew how seeing through the lens is different than seeing the world as we do normally. The way we see the world in our minds, through the lens, and through objective reality is all so different. I often thought that what I saw through the lens would reflect what I saw in my mind and it didn’t always work out that way. I had all these emotions and experiences that didn’t translate into a photographic image. I initially sought out to be a purist and just photograph the world without editing (processing) my images. I figured that the camera would capture everything I saw through the lens but I quickly learned that it is much harder to convey a message, experience, or feeling simply by clicking the shutter.

When I think about questions such as these, I find them difficult to answer. Mostly, because, I wonder if I had known these things beforehand would I be where I am today. This question provoked an interesting thought experiment about how everything does or doesn’t come together at a particular time. So, as I reflect about what I wish I had known I am always happy with accepting the fact that I was naïve in the beginning. I think that naivete is what prompted me to investigate the various ways we see and experience reality.

MK: What is at the core of your work? Is there a theme that runs through everything you create?

GC: I think about this often. The aim of my practice is to shift perspectives. Nothing is ever as it seems to be. My life experiences have led me to see the world from many vantage points. I want to open people up to the idea that there is more to this existence than what we see and can measure. In that sense a theme that runs through my work is the spiritual self or ethereal body and how it relates to the physical body and material world. In my work I use symbolism and metaphor to extend the way we see and interact with the world. I imagine what a harmonious connection looks like between the observer and the observed. I question what it may look like to see ourself reflected in nature and vice versa. The major theme in my work is the sum of existence and how it splits into various fragments we define and label as our conscious mind. The body is only a vessel for electromagnetic currents forming upon a reaction of other energies. I imagine and bring to life what these other energies may be in terms of sacred geometry, cosmological myths and legend, and spiritual identities. I have recently been thinking about my work, both past and present, and its relation to the intersection of science, art, and philosophy.

MK: Do you collaborate with like-minded individuals on projects, or do you find it more productive to handle everything yourself? Are there any collaborations in the past that have been particularly beneficial?

GC: In terms of making work, I usually work alone. I haven’t had the chance to collaborate on any creative projects just yet. I love the idea of connecting and sharing ideas with others to bring to life something new and fresh. I have some potential collaborations that hopefully will come into fruition in the future. I do like having control over my process, but I think it’s important to share creative space with others, so this is something that really excites me as a growing artist.

I have collaborated with many individuals this year on artist interviews and talks which has been quite fruitful and enjoyable. I had the pleasure of talking with Ohemaa Dixon and Roula Seikaly through the Humble Arts Foundation on the subject of Afrofuturism. I collaborated with John Aasp, gallery director at Rochester Institute of Technology, to kick off the Artist Short Sesh series featuring graduate students from the College of Art and Design. Macauly Lerman reached out to me and did a wonderful interview through Lenscratch which has connected me to many other creatives. Recently, I collaborated with Dr. Alessandra Raengo, founder of liquid blackness, to speak about my project Black Serenity (video hasn’t been released yet). This year, amongst the chaos of the pandemic, has given me the opportunity to connect with various people across multiple disciplines which I am eternally grateful for.

I do want to say that I also see collaboration extending beyond the normal way we think about it. I like to think of everyone I encounter as a collaborator in my life. They are a reflection of me and I a reflection of them. Personally, I see myself as the sum of everyone I have experienced, learning from their success and failures, their highs and lows. I learn a lot from people and I am grateful to have experienced their life to teach me about the world and myself.

MK: What mental preparations do you make to execute a particular shoot or project that you are excited about? Do you ever look back and find that nothing you had planned is what was done, yet you feel completely satisfied with the outcome?

GC: Music is such an integral part in preparing to go out to shoot and then create composites on the computer. I realized early on how the content we feed our minds really impacts our outward and inner expressions of self. I choose music that is uplifting, thoughtful, and meditative to listen to on a regular basis. I listen to all genres of music but certainly gravitate towards a softer musical palette when creating. It calms the chatter in my mind and helps me remain mindful about my actions and thoughts. Meditation music is often played during my photo excursions and one of my favorite musicians, Trevor Hall, is constantly on repeat as well. As a whole I just like to be mindful of my actions and thoughts and how they create my reality. I know life can be painful and ugly sometimes so I set my sight on gratitude to center myself. This, I find greatly increases the flow of my creative energy. When I stop being mindful or grateful, I tend to have huge creative blocks.

My planning is very minimal. I leave a lot of room for play and experimentation in my process. I find that when I try to plan too much it really gets in the way of my creative process; it becomes too restrictive. I don’t like that. I like to have options. So, I think about what I may want to get but remain open to what actually happens. I reflect often and see that even though it is not what I initially envisioned it still evokes the feeling I was going for or totally surprises me with something I hadn’t thought of before.

MK: What do you feel is the best way for you to grow as an artist? Are there any fears behind treading new waters?

GC: For me, it is important to continue to believe that the impossible is possible. I feel the need to question everything and that helps me grow in ways I didn’t think possible. One question leads to another and then you find yourself entangled in a world of new information.

There are definitely fears with treading new waters. Fear is good if you don’t let it debilitate you. Luckily, I have had a lot of support and encouragement that has helped me build confidence to continue pushing through even with fear standing in the way. I have learned that fear is a response to not knowing. I respect the unknown. I dive into it knowing that it can present me with new ways of seeing and understanding myself and everything around me.

MK: I’ve always been a believer that our surroundings or physical environment play a sizable role who we become as photographic artists. “Place” as an inspirer of thought and process seems to be quite important. I wonder if you feel that place during your early years, or even now, contributes to your creative process and how it has manifested?

GC: Yes! I completely agree. I think about this in two ways. One being the place I grew up which was Western Washington. The second being the “place” in our minds we run to for solace and sanctuary. I encountered many traumatic events as a child, and I sought out nature as my physical place of sanctuary. Growing up in Washington was great because I had access to forest and rivers/streams within walking distance of the various places I lived. When I would encounter something traumatic, I would explore natural spaces around me. This prompted my mind to construct a safe space for itself to heal after being exposed to heartache, betrayal, and rejection. I realized that when I entered the physical space of nature my mind shifted and calmed itself. I then understood the relationship between our minds, reality, and the spaces we inhabit. A reverence for nature was constructed and because I saw myself reflected in it, I built a reverence and hope for not only myself but the world as well.

When I moved to Arizona, I realized how much place was important to me and my identity. I built myself on the idea of being part of the Pacific Northwest. When I left I felt completely destroyed. Being in the desert, though, provided me a chance to rebuild myself and truly understand how my surroundings cultivated how I think about and perceive the world. Moving to the East coast for grad school changed me in ways I hadn’t expected. The people, the landscape, the architecture of this new place shifted my mind to see things differently. Each new place I encounter elevates my creative process giving it more depth and richness while challenging my ideas of what I think I know, which I appreciate.

MK: I’ve read your thesis paper for Because the Sun Hath Looked Upon Me, and was extremely impressed with the concepts and connections you made throughout the paper. I feel this is a prime example of a fully fleshed out and understood project coming to light. The number of connections, both personal and cosmological, are many. I wonder if during the early stages of creating this work you knew how many connections were possible, or were they exposed to you over the time it took to complete the project?

GC: Wow, thank you so much! I’m happy that it is being read outside of academia. These connections came over a period of time working on the project. I think a part of me knew they existed but couldn’t articulate them upon first beginning the project. It was a frustrating process with many failures. I think we get so close to our work sometimes that we don’t see all the pieces lying there waiting to be unveiled and put into place. I learned to step back, give pause, reach out for help and allow the project to come together organically.

MK: Concerning the connection and symbiosis that exists between all things; the past, present, and future seen to have less significance overall. I wonder though, how did the research for this project begin for you, and do you see it as transcending for yourself beyond even your photographic work?

GC: There were a few projects that acted as a precursor to my thesis work (Black Serenity, Transcendence, and See Me) and those projects helped shape what I presented as my thesis. These first 3 projects in grad school forced me to take a deeper look at the issues of Black representation in photography which saddened me. I didn’t like the narrative that was being taught and that I was being guided to ascribe to. Looking at the daguerreotypes of African men and women who were enslaved only told part of the story. Addressing the issues of 20th/21st century media and Black representation still didn’t encompass the whole story. I felt that the power and strength of many African cultures were snuffed out by this false narrative that all African Americans only come from slavery. I spent my first year in grad school trying to change the narrative with those three projects which talked about mental space, physical form, origin stories, ancestral history and generational trauma. Because the Sun Hath Looked Upon Me is a compilation of the aforementioned projects. Building on the foundation that I built for myself in the first year of grad school I was able to piece together the various parts of my identity and compare it to how the world sees me. One of my professors introduced me to the concept of immanence which opened my mind to how interconnected everything truly is. All these pieces that I was trying to pull together such as race, spirituality, cosmology, science, and philosophy weren’t so different as I was taught to believe. It was an arduous journey to get to the final result, but I wouldn’t change a thing. Each piece revealed itself at the perfect time allowing me to connect the dots and present something I am proud of.

I do see it as transcending beyond my photographic work. The project was in part done to satisfy my degree requirements but mostly it was a healing process for me. Because the Sun Hath Looked Upon Me is a manifestation and transmutation of the pain and trauma I felt when viewed as a one-dimensional person because of my defined race. Researching both academically and personally strengthened my ability to harness the healing powers of art.

MK: Do you feel this work can assist in identifying and possibly begin healing the racial disparity that exists in modern society. No easy task by any means, but perhaps there is a way to take early steps towards bridging the divide though examination of the principles you put forth in this work? Is there a long-term goal here?

GC: Definitely no easy task. It is hard to say exactly. I have hope that the work can begin the healing process with racial disparity, but I understand that it may be idealistic to think that way. I sit on the line of idealism and realism when it comes to matters of race. We have come very far but there is so much work to be done. Race is so deeply embedded in the culture and traditions of many Americans. How do we reach the people that don’t agree with the existence of Black and Brown people? I wonder if art truly has the power to change the hearts and minds of those afflicted with ignorance and hate towards those that are not like them. I of course do believe that it can, otherwise I wouldn’t have made the work, but these are still questions I ponder here and there. I use beauty as a mechanism to draw people into the work and hopefully while they are entranced by the beauty it begins to reshape their minds and shift their perspectives.

The long-term goal is to get people to see the humanity in each other. Ultimately, I want people to know that differences don’t necessarily mean separate and disconnected. Also, I want folks in the Black community to see someone express themselves with power, grace, and dignity, especially children. One of the most important aspects of what I do is confronting the idea of who we are. Identity construction begins at a very early age and so I want the young to know they can build themselves in whatever way they wish. I want the old to know that they can still restructure their minds. In this way, we begin to heal ourselves first which in turn will help heal our communities at large.

MK: In showing this work and discussing the concepts and ideas that stand behind it, do you feel that there is anything in particular that people are missing when they view the finished work?

GC: For the most part I think the work is successful in conveying the message I set out to disseminate. However, there are people who continue to see a one-dimensional being instead of the multidimensional being I have created in the work.

Another thing is that people usually see the landscapes as desolate and barren. I find it so interesting how emptiness scares people and makes them think life is nonexistent there. I wouldn’t say that they are wrong in what they see but I would challenge them to stretch their mind to see the possibility in the emptiness. I think that is something that gets lost in translation.

But as a whole, most people get the point. The work is a bit abstract as well so I expect people to bring different perspectives and viewpoints, which is absolutely fantastic.

MK: I also have a body of work that deals with the concept of sanctuary, with the sun being a key component of the work. Not to be comparing works by any means, as my own is certainly from a different angle and not nearly as all encompassing as yours is. However, I wonder if I’m on track here in reference to the sun being as important a player in the work as it seems to me? Perhaps as life-giver or inspirational element?

GC: Yes, you are definitely on track with that statement. Going back to the question about place influencing the work, living in Arizona for 7 years moved me to have even more respect for the sun. I found that as much as it gave life it also took it. It could make life unbearable or pleasant and beautiful. I love the fact that the sun is also this multidimensional entity that is not bound to one simple definition. The light of the sun never leaves us, its presence still lights up the night sky (aside from the night of the new moon). It guides us and blinds us. I have such reverence for the celestial bodies in the sky. I understand the scientific manner in which they exist but I find so much joy and pleasure in personifying and mythicizing them to be much more than that. For me, it is a way to commune with those who came before me and used the sun and other stars to guide their lives.

MK: Not relegating yourself to digital work and Photoshop only in the creation of your photographs, you also experiment and make work incorporating analog and historical processes. What led you to bring these processes into play?

GC: Yes, thank you for noticing! It really was my curiosity that brought me to analog and historical process. When I transferred to Arizona State University, I was introduced to Binh Dahn and decided to take his alt process class. I wanted to play and experiment with combining both 19th and 20th century photography. Binh gave me the freedom to explore my curiosity and see what I could come up with. I loved the thought that I could collapse time by combining old processes with new age techniques and images. I learned how process reshapes concept and how the technique applied can shift the way we interact and experience an image. I found myself captivated by this experience and wanted to explore it more. I have realized that in my work I am playing with the concept of time both conceptually and as a technique and these processes allow me to travel in-between the past and present, while envisioning a new future.

MK: After producing several bodies of work and completing your MFA, is there time to rest? If not, then what are the future plans for you that you wish to unveil to us? In other words - what’s coming up?

GC: There is always time for rest. I actually make it a point of my everyday life to create a balance between work, play, and rest. It’s important to not go too hard, otherwise you will just burn yourself out. But also, being a creator is in my blood. It doesn’t feel like work to photograph and create my composites. So, my rest is going out to photograph or getting on the computer to construct some new images.

I recently began making a new project with the working title, In the Finite, Infinitely which is almost like chapter two of my thesis project. It uses a lot of the concepts I researched in grad school. I will have 5 of these images in an exhibition at the Tempe Center for the Arts in Tempe, AZ called Explore: Go Boldly. This exhibition is a look at the intersection of the imagination, science, and art which is perfect! I also have another project I am working on simultaneously. I don’t have a title yet (I’m thinking Cosmotypes) but these are tintypes and ambrotypes of self-made universes and star fields. I also have another project I am working on which is all about mindfulness and the way we see images in our day to day. This particular project is a huge challenge for me because I am taking straight photographs and not manipulating them as I normally would. It is difficult because I see possibilities in these images and sometimes can’t refrain from using them in a composite, so it’s coming together very slowly.

There are lots of good things I am looking forward to next. For now, I am staying present making work and keeping myself open for new opportunities and connections.

You can find more of Granville's work on his website here.

All photographs, ©Granville Carroll