'I spent too much time reading Stephen King novels and watching the entirety of the “Children of the Corn” cinematic movies. I was honestly BEYOND terrified of some 4” demon child popping out of nowhere to start telling me about he who walks behind/among the corn.'
Normally, I don't head into the corn fields until Autumn. The yellow stalked vegetable is usually harvested from mid-September through late November. It's during this time, especially around Halloween, that corn mazes are created and viewings of Stephen King movies are at their peak. When I saw this series of images from Revolt Visuals however, I decided it was time for a visual leap, albeit premature, towards Autumn.
You can understand Jamonn's feelings about the field, movies and TV have taught us horrifying things often lurk and hide within those rows and rows of stalks. Being from the Caribbean, this was also Jamonn's first time working in an Indianapolis corn field, so you can understand why his most intense connection to corn fields were those child demons, imaginatively imprinted while watching horror films as a kid.
Those childhood visuals can be very powerful, and follow throughout our lives. It was visuals, that also help form Jamonn's passion for photography and art. As a kid, Jamonn loved to go through the many photo albums around his house. He'd spend hours flipping the pages, and getting lost in the images. After his father bought a point and shoot Kodak, Jomonn burnt an entire roll of film photographing black birds bathing in a puddle of water. Jamonn felt a compulsion to hold a camera in his hands.
It wasn't until several years later, after a crash course in live events, that Jamonn would find himself behind a camera once more. During his time as a film student, Jamonn also worked as a volunteer with NGO's, working with at risk groups. His task became producing visuals to accompany and compliment this work.
'The focus or the incorporation of the male form for the most part comes from an interest in subjects that are taboo. In particular as an Afro Caribbean man. Another man showing interest in male visuals for lack of better terminology was frowned upon. Though it was a step in a direction of expression and possibly an egoistic journey in finding comfort in myself. Thankfully I did have a few friends who were artists themselves and were willing to be my visual guinea pigs.'
The first male form that Jamonn worked on was with a dancer, who also happened to be his friend. Working with Charles, a complete stranger, turned out to be an entirely different experience. Jamonn is normally quite reserved, so the shoot turned out to be an exercise in both connection, and most of all being comfortable himself, and ensuring his model was comfortable as well.
'I was hired to do shoot in Indianapolis for a client who I did previous work for during his visit in Barbados. Charles who shared an appreciation of men’s underwear and at the time, I had never done an underwear shoot. In my mind, it was autumn and as a Caribbean guy. It was too cold outside already to brave shooting outdoors for me. I was thoroughly mistaken (lol). We started indoors, going through a LARGE collection of underwear (briefs, jockstraps, boxers) you name it they owned it.
During this time I conversed, selected locations in the house where natural light is best. Side note, where I was staying during my time, there was a massive cornfield nearby. Due to my lack of chill tolerance, I had minimal to no intention to conduct the shoot outdoors. However, between Charles, the client who hired me and the voice of adventure on my shoulder egging me on. I caved.'
'I guess my ramblings about horror movies and demons completely broke the ice. When we arrived, after what felt like an eternity of walking in this field, we were able to hit the ground running. The field felt less like the setup for a horror movie and more of a playground to me. It was a full immersive energy, I love shooting outdoors, and the lighting, the colour even the temperature were ideal. Charles was bold and comfortable in front of the camera, he possessed a cheeky humorous personality. That worked well with combining humour with directions I provided for each of the poses, and he also gave suggestions and we built a brilliant synergy that carried on for the remainder of the shoot.'
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