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Kate Boardman’s Global Journey: Embracing Aphantasia Through Photo…
Traveling the globe with an extraordinary condition known as aphantasia, Kate Boardman, a 36-year-old former teacher turned content creator, has lived in or visited 53 countries, capturing her experiences one photo at a time. A Massachusetts native, Boardman shares how her inability to visualize memories drives her passion for photography and content creation, all while embracing the digital nomad lifestyle. Her story illuminates the vast possibilities of remote work and the beauty of diverse cultures.
Discovering Aphantasia: A Catalyst for Adventure
Discovering she had aphantasia, a condition affecting 2% to 3% of the population, was a turning point for Boardman. This revelation explained her unique way of preserving memories through extensive photo and video collections, compensating for her inability to visualize images in her mind. Boardman’s journey into the world of travel began with a transformative trip to Mexico at 14, followed by a year-long exchange program in Germany at 15. These early experiences ignited a lifelong passion for exploring different cultures and capturing the world through her lens.
Embracing the Digital Nomad Lifestyle
Boardman’s decision to leave her cubicle job in 2009 marked the beginning of a 12-year adventure across the globe, from teaching in Thailand to living in exotic locations like Vietnam, Australia, and Guatemala. This lifestyle shift was not only about exploring new places but also about finding work opportunities as a digital nomad. Boardman’s story is a testament to the changing landscape of work and travel, where skills like yoga instruction or graphic design can open doors to new experiences worldwide, as highlighted in The Future of Remote Work While Travelling the Globe.
Challenges and Insights from a Life on the Road
While Boardman’s travels have been filled with incredible experiences, from swimming with hammerhead sharks in the Galapagos to climbing Mt. Kilimanjaro, they have not been without challenges. Instances of theft and inappropriate encounters have tested her resolve, yet her determination to explore and connect with different cultures remains unshaken. Boardman’s favorite destination, Iran, underscores her belief in the kindness of people and the distinction between governments and their citizens. Her adventures offer a fresh perspective on the diversity of human life and the beauty of our world.
As Boardman plans her move to Mexico, her journey is far from over. Through her Instagram account and digital products, she aims to inspire others to see the world not as a scary place but as a canvas of endless possibilities. Her experiences underscore the importance of embracing every moment and the beauty around us, challenges and all. Kate Boardman’s story is a powerful reminder of how travel can transform our understanding of the world and ourselves, even in the face of unique challenges like aphantasia.
‘Eight Seconds’ Is Photographer Ivan McClellan’s Love Letter to Black Rodeo Culture
Rodney & RJ, McCalla, Alabama. All images © Ivan McClellan, courtesy of Damiani, shared with permission
In 1982, Charles Sampson became the first Black man to win the world championship bull-riding competition. Becoming a cowboy was his childhood dream, and despite breaking nearly every bone in his body during his relatively long career, Sampson continued to climb atop the ornery animals and bolt into the arena. Even after an incredibly tough ride, he was known to vault himself off of the bull and land on his feet. He feels, to be cliché, that he was born to ride.
But there’s nothing cliché about Sampson’s story. As he writes in the introduction to the forthcoming book Eight Seconds: Black Rodeo Culture, “Every year there are fewer Black cowboys in America as the population ages, and young Black people believe the western lifestyle isn’t for them.”
Published by Damiani, Eight Seconds comprises 118 images by Ivan McClellan, a Portland, Oregon-based photographer who’s spent nearly a decade documenting the lives, wins, and losses of the Black rodeo community from Alabama to Los Angeles. He offers an insider’s view, capturing the addictive energy of the sport and the rich sense of camaraderie it fosters.
“I didn’t expect for this work to take over my life and become a passion/obsession for the better part of a decade,” McClellan tells Colossal, sharing a sentiment not unlike that of the people he photographs. “I kept going where I was useful and needed, and this book is a love letter to the culture that has transformed my life.”
Patrick Liddell, Las Vegas, Nevada
The slim volume is packed with a mix of portraits and candid, action shots that evidence the range of emotions within a single day of rodeo life. McClellan visits the teenage sensation Kortnee Solomon at her family’s ranch in Texas and a beaming rodeo queen in Okmulgee. He also photographs the Compton Cowboys, a collective devoted to bettering the lives of inner-city kids through equestrian training. “I’ve stood in front of a charging bull, walked through snake-infested fields, and laid on the ground while horses ran past me all to get a good photo,” he says. “Getting the shot is more important to me than my fear.”
McClellan self-published Eight Seconds in 2022—the title, of course, references the eight wild seconds riders must stay on their animals, one hand in the air, to score points—and the forthcoming edition adds to the original. Together, the photos unveil a firmly rooted ethos of care for both the animals and each other. “I’ve learned that Black cowboys treat you like a family member until you prove yourself unworthy of their trust. Sacrifice is required to live the cowboy lifestyle. I’ve seen cowboys go hungry so they could afford to feed their horse or get their cell phone cut off to pay for rodeo fees,” he says.
Keary Hines, Prairie View, Texas
Eight Seconds comes at a time when Black cowboys are gaining attention, in part because they counteract a White-washed historical narrative. In much of American pop culture, the term cowboy conjures an image not unlike a dusty, gun-toting Clint Eastwood in The Good, The Bad, and The Ugly. But the word itself originated as a derogatory alternative to cowhand and was often given to Black men working with cattle. After emancipation, one in four cowboys were Black.
Last spring, an exhibition at the Harwood Museum of Art in Taos opened as a corrective to the narratives that center on the White, Americana hero. Spanning pre-Civil War to the present day, the show featured McClellan’s portraits, alongside works by artists like Alexander Harrison and Otis Kwame Kye Quaicoe. And in Denver, another recent exhibition devoted itself to expanding the range of perspectives on what it means to be a cowboy.
While visually striking and exuding a warmth and comfort possible only after years of interaction, the photos are effective in part because they challenge these long-held notions about who partakes in the sport and what the rodeo lifestyle looks like in the 21st century. The photographer references the fashion choices emerging from the arena and beyond as a prime example of how Black cowboys both buck stereotypes and harness the independence associated with the archetype. He adds:
To be a Black cowboy is a defiant declaration of self. Going against conventional expectations of Black and White culture requires confidence and a sureness of one’s truth. Fashion is the most obvious way this comes to life. See cowboys riding in gold chains and Jordans, long braids and acrylic nails blends hip-hop culture and the west in interesting and surprising ways.
Eight Seconds, which is edited by Miss Rosen, is available for pre-order on Bookshop. Find a larger archive of McClellan’s work on his site and Instagram.
Marland Burke, Brandon Alexander, James Pickens Jr., Los Angeles, California
Rodeo Queen, Okmulgee, Oklahoma
Dontez & Floss, Okmulgee, Oklahoma
Jadayia Kursh, Okmulgee, Oklahoma
Bull Riders, Rosenberg, Texas
Cover of ‘Eight Seconds: Black Rodeo Culture,’ Damiani Books (2024)
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article ‘Eight Seconds’ Is Photographer Ivan McClellan’s Love Letter to Black Rodeo Culture appeared first on Colossal.
‘Eight Seconds’ Is Photographer Ivan McClellan’s Love Letter to Black Rodeo Culture
Books
Photography
#horses
#Ivan McClellan
#sports
Rodney & RJ, McCalla, Alabama. All images © Ivan McClellan, courtesy of Damiani, shared with permission
In 1982, Charles Sampson became the first Black man to win the world championship bull-riding competition. Becoming a cowboy was his childhood dream, and despite breaking nearly every bone in his body during his relatively long career, Sampson continued to climb atop the ornery animals and bolt into the arena. Even after an incredibly tough ride, he was known to vault himself off of the bull and land on his feet. He feels, to be cliché, that he was born to ride.
But there’s nothing cliché about Sampson’s story. As he writes in the introduction to the forthcoming book Eight Seconds: Black Rodeo Culture, “Every year there are fewer Black cowboys in America as the population ages, and young Black people believe the western lifestyle isn’t for them.”
Published by Damiani, Eight Seconds comprises 118 images by Ivan McClellan, a Portland, Oregon-based photographer who’s spent nearly a decade documenting the lives, wins, and losses of the Black rodeo community from Alabama to Los Angeles. He offers an insider’s view, capturing the addictive energy of the sport and the rich sense of camaraderie it fosters.
“I didn’t expect for this work to take over my life and become a passion/obsession for the better part of a decade,” McClellan tells Colossal, sharing a sentiment not unlike that of the people he photographs. “I kept going where I was useful and needed, and this book is a love letter to the culture that has transformed my life.”
Patrick Liddell, Las Vegas, Nevada
The slim volume is packed with a mix of portraits and candid, action shots that evidence the range of emotions within a single day of rodeo life. McClellan visits the teenage sensation Kortnee Solomon at her family’s ranch in Texas and a beaming rodeo queen in Okmulgee. He also photographs the Compton Cowboys, a collective devoted to bettering the lives of inner-city kids through equestrian training. “I’ve stood in front of a charging bull, walked through snake-infested fields, and laid on the ground while horses ran past me all to get a good photo,” he says. “Getting the shot is more important to me than my fear.”
McClellan self-published Eight Seconds in 2022—the title, of course, references the eight wild seconds riders must stay on their animals, one hand in the air, to score points—and the forthcoming edition adds to the original. Together, the photos unveil a firmly rooted ethos of care for both the animals and each other. “I’ve learned that Black cowboys treat you like a family member until you prove yourself unworthy of their trust. Sacrifice is required to live the cowboy lifestyle. I’ve seen cowboys go hungry so they could afford to feed their horse or get their cell phone cut off to pay for rodeo fees,” he says.
Keary Hines, Prairie View, Texas
Eight Seconds comes at a time when Black cowboys are gaining attention, in part because they counteract a White-washed historical narrative. In much of American pop culture, the term cowboy conjures an image not unlike a dusty, gun-toting Clint Eastwood in The Good, The Bad, and The Ugly. But the word itself originated as a derogatory alternative to cowhand and was often given to Black men working with cattle. After emancipation, one in four cowboys were Black.
Last spring, an exhibition at the Harwood Museum of Art in Taos opened as a corrective to the narratives that center on the White, Americana hero. Spanning pre-Civil War to the present day, the show featured McClellan’s portraits, alongside works by artists like Alexander Harrison and Otis Kwame Kye Quaicoe. And in Denver, another recent exhibition devoted itself to expanding the range of perspectives on what it means to be a cowboy.
While visually striking and exuding a warmth and comfort possible only after years of interaction, the photos are effective in part because they challenge these long-held notions about who partakes in the sport and what the rodeo lifestyle looks like in the 21st century. The photographer references the fashion choices emerging from the arena and beyond as a prime example of how Black cowboys both buck stereotypes and harness the independence associated with the archetype. He adds:
To be a Black cowboy is a defiant declaration of self. Going against conventional expectations of Black and White culture requires confidence and a sureness of one’s truth. Fashion is the most obvious way this comes to life. See cowboys riding in gold chains and Jordans, long braids and acrylic nails blends hip-hop culture and the west in interesting and surprising ways.
Eight Seconds, which is edited by Miss Rosen, is available for pre-order on Bookshop. Find a larger archive of McClellan’s work on his site and Instagram.
Marland Burke, Brandon Alexander, James Pickens Jr., Los Angeles, California
Rodeo Queen, Okmulgee, Oklahoma
Dontez & Floss, Okmulgee, Oklahoma
Jadayia Kursh, Okmulgee, Oklahoma
Bull Riders, Rosenberg, Texas
Cover of ‘Eight Seconds: Black Rodeo Culture,’ Damiani Books (2024)
#horses
#Ivan McClellan
#sports
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. You’ll connect with a community of like-minded readers who are passionate about contemporary art, read articles and newsletters ad-free, sustain our interview series, get discounts and early access to our limited-edition print releases, and much more. Join now!
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‘This was their home too’: Frankie Mills’s intimate portraits of Ukrainian refugees in the UK
The remote village of Moorhaven, 15 miles east of Plymouth, is a place far removed from war. With open, barren moorland on one side and rolling countryside on the other, the surrounding landscape is scattered with wandering sheep and horses. So when a dozen Ukrainian refugees arrived there two years ago, Frankie Mills, a photojournalist at the local paper, found it hard not to pay attention. “It’s a small, tight-knit British community. The people that came were very visible.”
When Mills posted on a village Facebook forum asking to photograph some of the refugees, there was some resistance. “People thought it was really insensitive. They were very wary and sponsors saw it as their responsibility to protect their guests.”
But one person messaged to say “let’s chat”. That was Valentyna Romanchuk, who had just arrived from Kharkiv, in eastern Ukraine, a frequent target of Russian assaults. Over the space of a year and a half, Romanchuk introduced Mills to her fellow Ukrainians in the village and the nearby town of Ivybridge, communicating through translation apps. What came next was Good Evening, We Are From Ukraine, a photographic project which follows the small community of women and children as they rebuild their lives. The title, taken from the words Mills had seen printed on a young boy’s T-shirt, was a wartime slogan used across the country. She has now been shortlisted for a Sony world photography award for the series.
More than 200,000 Ukrainians have arrived in the UK since March 2022, the first time since the second world war that the British public have welcomed refugees into their homes en masse. When the scheme was first announced, the UK was considered slow to act and there was a complex application process, but the people in Moorhaven wanted to get involved in any way they could. “It felt like a domino effect,” says Mills. “One person was up for it and suddenly everyone wanted to help.”
In many ways, this wasn’t unusual in a place like Moorhaven, which has a history of communal living. Once a hospital and now divided into individual homes set in 65 acres of landscaped grounds, it has about 440 inhabitants. “It’s a close community and there’s a feeling of people being connected there,” says Mills, who describes the old, imposing architecture as if it’s “just sticking out of Dartmoor”. Yet the project wasn’t about the landscape or the history of the area. It was the personalities and how they related to each other that made the images strong. “The better ones show people’s personal experience and their character.”
A favourite, she says, is the tender moment between mother and daughter, Paulina and Olena. It captures Paulina as she comes out of the pantry holding two aubergines. Olena then beckons her over and wipes something from her face and their dog, who had travelled over with them, pops up from under the table. “I like that connection between them. It showed how important those gestures can be when you’re going through something as big as this.”
For Romanchuk, being part of the series felt like an escape. There were countless day trips, walks on the moors and ice-cream stops. “We spent many wonderful hours surrounded by nature in the reserve,” she says. “I often remember funny incidents and conversations, and think that this project was like a small, new and happy life, which helped us forget about all the horrors that we left in Ukraine.” For Tetyana Volodymyrivna Drobot (Tania), a maths teacher, who was suffering from long Covid and had left behind her husband and two sons, it was a reminder of her old life. She’d always loved taking pictures and being in them.
The group shot of Olena, Paulina, Valentyna and Valeria sitting on the moor, with Tania kneeling standing to take a selfie, makes her laugh. “I love it,” says Mills. “It was at the end of their first summer in the UK. Tania’s sense of humour has been unwavering throughout.”
For nearly two years, Ukrainian could be heard from playgrounds, blue and yellow flags hung from homes in the village, and Ukrainian Independence Day was celebrated annually. Drobot’s hosts, Fiona and David, introduced her to their friends, family and grandchildren. Romanchuk speaks fondly of barbecues and parties, which reminded her of picnics at home. Many in the community helped with shopping, doctor’s appointments and lifts. “I made true friends,” she says. “I understood that I needed to change my old habits and start getting used to life in England. I wanted people to accept me as a person.”
There were, of course, tensions at times. Some relationships turned sour and broke down, others ended abruptly. While many people are rebuilding their lives to remain in the UK, others, especially the younger ones, are considering returning home. Two years on, Romanchuk lives in Plymouth. Her English is improving, she is working as a volunteer and singing in a Ukrainian choir. For now, only Drobot remains living in Moorhaven. With no end in sight and national interest fading, she thinks the world is tired of what is happening in Ukraine. She doesn’t know what the future has in store, but she’s learning the language and feeling positive. “I think I can handle it. The main thing is that there is no war.”
Whatever the outcome, the project highlights the universal need to feel like you’re at home somewhere and have a sense of purpose. “Even when both sides don’t share a language and have wildly different histories, there was still that sense of relatability,” says Mills. “This was their home too.”
Missoula seeks public comment on proposed sculpture walk in Silver Park
The city of Missoula is seeking public comment on a proposed sculpture walk in Silver Park at 900 Cregg Ln. in the Old Sawmill District.The grant and donation-f
Sudarsan Pattnaik Celebrates World Wildlife Day with 50ft Tiger Sa…
Discover how Padma Shri Sudarsan Pattnaik’s sand sculpture at Tadoba Festival 2024 serves as a call to action for wildlife preservation.
Sand artist Sudarsan Pattnaik marks World Wildlife Day with 50ft tiger sculpture
Sudarsan Pattnaik shared an incredible post featuring his sand sculpture for World Wildlife Day 2024.
Stephenson’s miner’s lamp sculpture in Tyneside unveiled this month
George Stephenson’s lamp was designed in 1815 to prevent explosions due to mine gases.
Vicars CAN get snappy with wedding photographers, ex-Archbishop says
- Dr Rowan Williams admitted vicars can be ‘over controlling’ with photographers
- But also argued it is ‘not unreasonable’ to ask for respect of the spiritual service
Vicars can be ‘complete pain’ and ‘over controlling’ with photographers trying to snap pictures during a wedding, an ex-Archbishop of Canterbury has admitted.
Dr Rowan Williams, who served as the officiant for the Prince and Princess of Wales, argued that while some clergy get frustrated with intrusive photographers, it is ‘not unreasonable’ to ask cameramen to the respect the spirituality of matrimony.
‘The event isn’t staged just as a spectacle to be filmed, but as a personal encounter of a couple with God,’ Dr Williams, 73, told The Sunday Times. ‘So there are indeed two sides to this.’
His remarks come amid tensions between wedding photographers and clergy, with more than 900 snappers last week having signed a petition calling for church leaders to be more considerate.
The photographers claim it is becoming almost impossible to take pictures inside churches due to the ‘aggressive, rude and humiliating’ behaviour of members of the clergy.
Some of the alleged ‘rude behaviours’ include vicars halting the ceremony, intentionally obscuring the couple or exiling photographers altogether.
The former Archbishop acknowledged that the actions of some clergy can be irritating, but also reiterated that there are ‘two sides’ to this debate.
‘While some vicars can be a complete pain and over controlling to a degree, clergy too need to be able to do their jobs,’ Dr Williams told the newspaper.
‘A request not to be intrusive during a service when something significant is supposed to be taking place at the spiritual level is not unreasonable.’
He reminds photographers that marriage is meant to be a ‘spiritual’ ceremony and should be respected as such.
But photographers claim they are only trying to honour couples’ wishes, noting that images of that first special first kiss are treasured.
Snappers are asking to have ‘some kind of collaborative effort’, said Birmingham-based photographer Mike Horton, who now longer shoots church weddings because ‘I just don’t want the hassle’.
Similarly, Jade Eleanor, a photographer from Surrey, said the ‘power struggle’ between snappers and vicars is ‘really awkward’ and ‘not fair on the couple’.
The petition was started by photographer Rachel Roberts, from Lincoln, who said a conversation between wedding photographers and church leaders was needed to address the situation for the benefit of marrying couples.
She said couples were increasingly choosing not to wed in church while photographers were avoiding taking work in churches because of the problems they face.
Mrs Roberts, 37, told the Daily Mail last week that while photographers acknowledge that the service is a solemn occasion and take steps to be discreet, they’re often subject to strict rules which make their job more difficult, with some ministers being openly hostile towards them.
The photographer said couples were also frequently finding out on the day of their wedding that they can’t have pictures inside the church at all leaving them devastated.
She added that she felt many church leaders were ‘stuck in the past’ and that those who embraced photography and social media had waiting lists for weddings.
Mrs Roberts hoped the petition would help make ‘positive change’ adding: ‘Ultimately, we all want the same thing which is to deliver lovely results for the couple’.
While it is at the priest’s or vicar’s discretion on what photographs can be taken at each church, many refuse to allow them during the ceremony at all. Others permit only one picture or photos only during the signing of the register.
The Church of England has said that it worked with professional photographers to produce guidance for couples.
A spokesman previously told the Mail: ‘Photography is an important part of the day… Good early communication between the couple, the officiant and the photographer can help to ensure that expectations are aligned, and we advise that couples discuss these matters in advance with their church, so they know what to expect.’
MailOnline has approached the Church of England and the Catholic Church for comment.
