Diallo Javonne French
You probably first encountered the Greek word ekphrasis in school, in the form of an ekphrastic poem, when the teacher assigned "Ode to a Grecian Urn" by John Keats. Some call the word jargon, but I think it's an interesting concept for your artistic consideration. Ekphrasis came to mind when I watched Diallo Javonne French's film "May This Be Love" at a recent film festival. Inspired by a poem, passionate about using real black and white film, in love with jazz and his 18th and Vine Kansas City roots, Diallo crafted an atmospheric experience for the senses and the heart.
Diallo's film takes the ekphrasis experience, the confrontation, or in this case blending of artistic forms to a complex trinity of dimensions with music, poetry, and film; an authentic form of 3D without the funny glasses. Keats painted an urn with words. French paints a poem with a film complete with a lacquer of jazz. Enough of this Greek, already. What does this artist do?
He takes photographs of people. His favorite subjects are jazz musicians while they're performing. Diallo creates with his eyes. His palette is black and white, contrast, shades in between, and bit of blur once in a while to remind you that the subject, like a drummer, is really moving...fast. This artist connects photography and filmmaking in a seamless way, both in concept, how he thinks about them, and in his storytelling. He thinks of film as series of his stills which if you examine them closely are not still at all.
Diallo possesses a keen appreciation and sense of time and timing both in his products and interestingly in his process. It must be his orchestration talent with the beat of poetry, the understanding from a musician's (Diallo plays music but does not play out) point of view of what's happening, the 24 frames/second world of non-digital film composition, the single frame in the less-than-a-second world of still photography, and the personal timing that comes with experience, curiosity, repetition, and work. He lives in time, like us all, but artists have this way of using time as a material alongside paint, metal, stone, fabric, cameras, film, light, instruments, and film.
In time, Diallo hopes that his work ripples across generations with a characteristic of posterity, a timelessness that captures a here and now authenticity, in a way that can live and breathe in another time. Artists can touch and, in Diallo's case, photograph paradox for us. Perhaps that alchemy begins with his choice of film; black and white.
Time plays a big role in his process. He tries hard to stay organized. Working a few day jobs to sustain his passions, he makes time for both. When he gathers a team to collaborate on sets, he arrives with a plan and takes the time to communicate the timelines, the lines, the schedule, the budget, the breaks, and the takes. Diallo loves jazz and knows the vocabulary of that art form. The complexity of jazz begins with simplicity. But this artist does not dwell upon vocabulary.
He dwells upon composition, writing scripts, and meeting people. His art calls for observation, not in a judgmental way, but in an open way, with eyes wide open and an engaging smile. He reminds himself often that filmmaking is fun..."we're making movies, people!" It's important to "be nice", he believes, for his art is about people, after all.
Back to vocabulary and words, though, Diallo loves to write and even relishes the re-write process. But he cautions himself to stick to the core of things, to stay close to the essence of the story to ensure it comes through. For example, "May This Be Love" is a love story. He worked hard to stay anchored to the love in it. Finally, Diallo used the word "quality" to express his passion for doing things the right way. He learned quality in his life experiences and I suppose the learning comes with changing one's ways when confronted with what life tells you.
Ekphrasis...Time...Organize...re-write and do...be nice...and listen to some jazz once in while...
Born in Kansas City, Missouri, Diallo Javonne French started as a musician. He began his filmmaking career when he bought an 8mm camera from a pawnshop when he was eighteen. Diallo taught himself production shooting 8mm and 16mm short films.
Diallo moved to Atlanta Georgia in the early 1990s and attended Clark Atlanta University majoring in Mass Communications Radio/TV/Film. While attending school he served as a production assistant on several music videos that included artists such as TLC, Outkast, Goodie Mob, Xscape, Raven Symone, and with director Hype Williams. He is an award winning photographer and filmmaker with a BET (Black Entertainment Network) film to his credit entitled "May This Be Love". His photographs have been used on Hallmark cards and in jazz magazines. His photographs have had showings at the American Jazz Museum, Keyhole Art Gallery, and the Buttonwood Art Space. He lives in Kansas City, Missouri.
Artist statement:
"Filmmaking and photography is the way I visually express myself. Through my art I attempt to understand myself, and the world around me. My goal is to inspire the viewer with each frame of film.
My subject matter tends to center around music and romantic love. I'm a passionate optimist about both. Jazz photography is a window into America's classical music. Photographing jazz musicians in their element, usually a dimly lit atmosphere, never using a flash, only natural light. This allows me to become a part of the music while I'm shooting; attempting to capture a pure moment of musical expression. The black & white photo gives the subject a timeless appearance. My motion picture pieces illustrate the possibilities of love. A moving postcard of how beautiful companionship can be. The dream we all share on some level or another.
There is something very magical about the marriage between music and film. This is why I choose to capture my images on film rather than digitally. Bringing hope and inspiration to others and me is why I create."
Diallo is a Spring 2012 Artist INC Fellow.
Visit Diallo Javonne French's website at www.javonnefilms.com.
Written by Tom Ryan, 2011.