What I find interesting about Wendy Red Star, Samuel Fosso, and Deana Lawson is their trajectory in finding meaningful work with photography on identity, community, and memory. These photographers’ memory lanes of their gradual interest in photography were fascinating. Red Star experienced a rude awakening in her graphic design major but found solace in discovering more about her heritage and reservation through native studies courses. Fosso stumbled upon a photo studio while seeking rest after completing housework. Lawson was particularly drawn to family photo albums, recognizing their ability to tell richer stories. These three photographers' earlier experiences and mundane occurrences led to a significant reconnection of themselves and a reevaluation of how they were perceived by others, as well as how they wished to be seen, from a postcolonial standpoint.   

       Red Star, Fosso, and Lawson challenge the restrictive portrayal and assumptions of their collective memory and the community’s history. They set the stage for an affirmative mode of self-documentation, different moods of representation and imagination, and the reinvigoration of the connection between time and space concerning power, culture, and the archive. These photographers created counternarratives using symbols, settings, and body language to communicate directly with the viewer. Wendy Red Star embarks on marking these conversations in history and countererasure. Samuel Fosso’s images are characterized by less ambiguity, as he uses them to express a sense of liberation while embodying the personas he desires to be. His images evoke a range of psychological and emotional responses, challenging the structure of power and oppression. Deana Lawson highlights the significant aspects and values of the daily experiences of her community, reclaiming glory and triumphs despite the challenges. Through her work, she breaks negative stereotypes and preserves the beauty and memories of her subjects. 

    The photographs taken by these artists serve as representations of their lived experiences, which are unburdened by external stereotypes and limitations. In doing so, they construct their own narratives and pay homage to their identities, communities, and collective memory. This approach stands in opposition to the prevailing white and colonial viewpoint, offering a postcolonial method of documentation and an ongoing reclamation of their autonomy. The result is a visual counterarrative that resists traditional power structures in its representation.

     Photographs, however, are inherently open to interpretation. The reflections of these images can be perceived in diverse ways, not only by outsiders but also by community insiders. Understanding the messages conveyed by these images is of paramount importance. What narratives do they introduce to the public sphere? What dialogues do they seek to initiate? To address these questions, it is crucial to engage in discussions that directly examine the photographic interiors and their representations, such as conducting interview portfolios (i.e. Archives of American Art, Aperture, and The New Yorker). This process is essential for contextualizing the images and advancing social change. These visual works serve as a medium through which photographers communicate significant messages and challenge prevailing sociocultural perspectives.