About

Sixteen years ago, as a sophomore student in highschool I couldn’t foresee the kind of imagery I’d be producing now. The subject matter and intention have shifted a few times in my process as a photographic artist. The power of a photograph resides in the vision of the one with the camera. I build an atmosphere while manipulating light to evoke emotion. The importance of achieving a feeling of authenticity, capturing the rawness of life, is very alive for me at the moment. From street scenes to intimate moments, I feel that each photograph is a reflective and visual exploration into a little, unique world. Documenting the world around us and telling each other’s stories still matters deeply. Ordinary moments become extraordinary once I create relationships between things and people within the viewfinder. In this way, I am actively training my eye and positioning the body to get a sense of scale to heighten the sensibility of a stage. In this respect, you never stop learning as a photographer. Every moment with the camera is creatively fulfilling. Even when I’ve experienced burnout, there is medicine there for the walls of my awareness to expand. Ceremonial practices are a branch of my spiritual journey. This photograph was captured at a Hapé evening Ceremony and concert with Txana Ikakuru & Batani Huni Kuin at Cantik Villa Homestead, Florida. They came from the village of Boa Vista, deep in the Brazilian Amazon, to share their medicine from an unbroken lineage of ancient traditions, wisdom, and sacred chants from their tribe. Indigenous teachings are just as relevant as the knowledge learned in the East. Many appearances of one truth. The divine continues to reveal itself in different faces and voices. Every time I sit and listen, applying what is true for me. I stay curious and pay attention. I carry my camera even when it feels inconvenient. The world does not need fewer photographs right now. It needs thoughtful ones. Honest ones. Images that help us see each other more clearly. Generally inceremonial spaces, photography is prohibited; however becuase the event was promoted as a concert, many were able to record and capture moments of our brothers and sisters’ offerings that night. I found it difficult to photograph in the low-lit space, but luckily I had an on-camera flash, allowing me to create this photo entitled, Chants of the Huni Kuin.

In “Chants of the Huni Kuin,” Nkosi Gomez presents a striking black-and-white portrait that feels both ceremonial and immediate, bridging worlds through light, texture, and presence. Two figures sit side by side against a simple interior backdrop, partially framed by large tropical leaves that cast layered shadows across the wall. Their garments are richly patterned, traditional textiles that carry geometric rhythms echoing ancestral identity and continuity.

The man on the left cradles a guitar, his hands mid-position as if sustaining a chord. His face is partially covered with ceremonial markings or a blindfold-like adornment, suggesting inward focus rather than outward performance. Beside him, a woman sits upright, also adorned in similar attire, holding a feathered instrument or ritual object. Her expression—though partially obscured—feels open, as if channeling sound rather than projecting it. Together, they appear immersed in chant, their bodies still yet resonant with unseen vibration.

The use of direct flash creates a heightened contrast, sharpening every detail—the weave of fabric, the grain of the guitar, the texture of skin—while flattening the space just enough to draw attention to the symbolic weight of the subjects. The shadows behind them are not passive; they double the figures, extending their presence into something mythic, almost archetypal.

What emerges is not just documentation of a musical moment, but a visual translation of transmission—of knowledge, memory, and spirit. The photograph holds the tension between intimacy and reverence. It reflects Gomez’s intention to create relationships within the frame: between people, between light and shadow, between the seen and the felt.

Rooted in a ceremonial context yet shaped by the spontaneity of a live gathering, the image becomes a meeting point of traditions—Indigenous Amazonian wisdom intersecting with the artist’s evolving spiritual inquiry. It speaks to the idea that sacred expression does not belong to one place or lineage alone, but moves through many forms, voices, and bodies.

Ultimately, “Chants of the Huni Kuin” is less about performance and more about presence—an offering that invites the viewer not just to look, but to listen.

Specifications

Artwork Size: 6 ½ x 8 ½ in ( 16.51 x 21.59 cm )

Print Size: Signed 8×10 in ( 20.32 x 25.4 cm )

White Precut Mat Size: 11×14 in ( 27.94 x 35.56 )

Photo finish: Epson Velvet Fine Art.

Frame NOT Included.

Textured Matte Finish. An acid-free, 100% cotton rag base with a natural textured finish. This paper has an extremely high color gamut and black density. This paper is coated with our popular Enhanced Matte coating, giving exceptional color gamut and high D-Max. The velvet surface is a favorite of photographers and artists alike, offering a unique museum-quality feel.

This print ships within one week of the order date.