While being loved and showing love are acts that are always assumed to be natural, Alanna Fields is

uncovering the truth behind the concealed and disregarded love shared between queer black individuals

from the 1960s and 70s through her art. As a literature major, Fields recalls how her understanding of

history, while genuine, was never well-rounded. And so, after falling in love with the way one could tell a

story through photography, Fields took on her own representation through art, bridging the gap with

the use of old photographs and wax.

Using images purchased off eBay and colored wax, Fields’ art reveals the hidden world of past queer

black individuals. Sometimes, there is a name scrawled on the back of a photo, and she will pay homage

to this individual through the title, such as in Renard’s Refrain, 2021. Fields transcends an unknown

history by catapulting the photographed individual into our present through layers of color or wax.

Fields prefers to focus on an unidentified subject, although she recalls how her love for photography

began with a family album. While the unidentifiable subjects may seem odd, there is a familiarity that

arises from the shared past and shared identity of being a black, queer person.

As with most of her oeuvre, Fields recreates a world in which the genuine truth is mirrored by a

softness, as in her collection, Mirage of Dreams Past. With this collection in particular, Fields selects

images that share a common element: underrepresentation, yes, but one that is shown in the most

normal or realistic of spaces, where domestic settings reveal a desirous gaze from the bedroom or a soft

repose in the grass. And as each image is easily viewed, there is an ease and openness that is relatable

to all. All the while, each image seems to be in a state of movement, and the colors captured between

each layer of wax grants a different view or understanding of the image.

In this way, Fields is like an archaeologist: she uncovers the image, dusts off each layer of history, and

reveals the person and their emotions beneath. This is all thanks to the unique kaleidoscope effect

Fields uses with wax, in a way to draw out the emotions, the space, and the history of that moment.

While looking into the past and being able to share in the recorded moment are feelings that we can all

relate to, Fields expresses the lack of representation for men and women like herself, not only in her

family albums, but within art, as well. And while this is changing, there is still much left to share.

Born in Marlboro, MD in 1990, Alanna Fields’ work has been featured in exhibitions including Felix Art

Fair, LA, UNTITLED Art Fair, Miami, MoCADA, and more. Fields is a lens-based mixed media artist and

archivist whose work challenges the representation of black queer identity within photography.

Written by Emily Capone

Photo Editor Kahdeem Prosper Jefferson

Feb 10 Black Futures Month: Alanna Fields

Feb 11 Flash Fiction : Bart Heynen