Manufacturing a subversive reality: Backdrops and Photographic Manipulation in Cameroonian studio Photography.
His project on the manufacturing of subversive reality, backdrops and Photographic manipulations in Cameroon seeks to answer the central question on the extent to which photographic backdrops as agency, involves sitters, painters, and photographers in the process of meaning and production, meaning and uses, as it circulates within and between regions (provinces) in Cameroon. The backdrop composition of Black and white photographs repertoires from 1958-1980 source from migrants, studio photographers, museum and archives present different categories of painted backdrop from pre-colonial to the post-colonial state. Guided by photo-elicitation, interview, and observation, the study resonates the arts and history of visual materials using a socio-cultural underpin of ‘Thick thing’ and ‘Meshwork’ as a gauge of entanglements. Following the interregional dissemination of photographic back drops acting as a synergistic platform in a multi ethnic and bicultural nation once united.