This year, also at Gladstone, he produced a show of Robert Mapplethorpe photographs that included a lot of explicit imagery. And his new gallery show, where the metal sculptures give a different dungeon energy, also includes several photos of himself – one clearly sexual, showing a loose penis, the owner unknown.
When I asked Jaffa about this direction, he replied in two steps.
First, he said, it stems from a rebellious impulse. “It’s intransitive, punk, nihilistic, depressive, gothic.”
Then he followed the idea to a heavier place.
“Power relations and sexuality, for black people – these things always permeate and permeate with each other,” he said. He forcibly incorrectly transformed the history of plantations into a crude metaphor. “I can’t see my face without looking at my rapist in the mirror. I do not look like the Africans who have come here. “
But MoMA curator Lax stated that sexual pluralism in Jaffa’s work also represents a connection with his creative community; For example, he has collaborated with a trans artist with Tourmaline. “It’s about getting yourself into the room in a meaningful way, but not having to center your desires or identity,” Lax said.
Read like this, it is a recognition of everyone’s independence. Jaffa summed it up: “There are an infinite number of positions to occupy.”
Jaffa identified the source of his uncontrolled streak in his Mississippi childhood where, he said, the church was the institution that gathered and protected the community. But it was also hierarchical and enforced conformity. Dark, disapproved, material was expressed in blues elsewhere.