Does water connect us or divide us? Austrian-Nigerian photographer and filmmaker David Uzochukwu explores his answer in the 22-piece collection “Bodies of Water” at the Brooks Museum.
Uzochukwu began this exhibition in 2015 after looking through photos captured during the European refugee crisis. Uzochukwu says, “There was a lot of violence in those images, and I thought a lot about the relationship between water and our bodies and the ways in which water is political.” Uzochukwu draws inspiration from both history and mythology.
The heart of his collection, Styx (2021), captures the reality of the crisis by depicting a group of people on a rock in the middle of water, mimicking the many photos of overcrowded boats striving for shore. The body of water that inspired the piece’s title, Styx, is a main river that leads to the underworld in Greek mythology. Uzochukwu says, “I wanted to counter that [photos from the crisis] with images where I rethought this relationship and tried to instill it with a sense of autonomy and community while monitoring the urgency that these people felt.”
Curator of “Bodies of Water,” Efeoghene Igor Coleman, discussed the universal quality each piece holds, in that we all share a connection with the sea. Coleman is an independent curator and scholar specializing in African diasporic art. She holds a Ph.D. in history from Yale University and has served at the Memphis Brooks Museum of Art, as well as the Solomon R. Guggenheim Museum in New York City.
Coleman has followed along and remained in conversation with Uzochukwu since 2016, when he was just 18 years old. Her passion for his art was evident during the tour she led through the installation. “Bodies of Water” is a personal and precious milestone for Coleman and Uzochukwu, as this is the first solo formal museum exhibition for both of them.
David Uzochukwu, Buoyant, 2019, archival inkjet print, © 2026 David Uzochukwu. (Photo: Courtesy of the artist and Galerie Gomis)
David Uzochukwu, Haven, 2019, archival inkjet print, © 2026 David Uzochukwu. (Photo: Courtesy of the artist and Galerie Gomis)
Uzochukwu got started in self-portraiture as a way of exploring his identity and developing his skill with the camera. His seasoned experience in traveling all over the world is reflected in the far reaches of his imprint on the artistic world. Journals from London, New York, Shanghai, and Mexico City have all showcased his work, as well as public collections in Switzerland, Senegal, and Canada.
Each photograph begins with an idea sorted out by sketching the design. Hiring the model(s) and choosing the location solidifies his vision, and afterward he’ll begin editing to morph quite fantastically the bridge between human, animal, plant life, water, and other inanimate objects.
Some ideas, however, don’t always go as expected. In Broken From The Colony (2022) Uzochukwu explains that resources won’t always be available, depending on where they’re shooting. His selected location didn’t have the coral he was looking for, so he had to adapt. He started photographing the banana plants, and that created an even deeper meaning to his work. The two human subjects hug onto one another as their bodies intertwine and become the banana plants. His process is often fluid, like the water that inspires him.
Coral (2019) is particularly unique from the group because the piece doesn’t use a model in its entirety, but rather a cast of one that is transformed into a sculpture. The soft expression of the subject and warm red hue of the median are illuminated by the silhouette of her face, and are surrounded by a pure black background that makes the piece pop.
The curation of the exhibit is thoughtfully crafted for your viewing. Coleman says, “There’s an invitation for a lot of these works by playing with the scale.” They want you to step in and back away in an interactive style to get a full understanding of each piece. Uzochukwu was particularly excited to see his work textualized, rather than being digitally represented.
The exhibit will be on display until Sept. 27th, when the Brooks Museum temporarily closes for its long-anticipated move to its Downtown location.
