"The Sight" is from Rome-Taylor's "Reclamation" project. The "Reclamation Project" is a series of photographs are created with children exhibiting wisdom and self-awareness beyond their visible years, conjuring notions of passed down ancestral knowledge. Incorporated found items that contain a history of people in the past, that are domestic, and somewhat nostalgic. Family heirlooms of the sitters are also incorporated, adding their historical meaning and value to the images. The objects are literal family heirlooms or selected items by me that are reminiscent of them, evoking familial connections and the memory. The sitter, in combination with the objects, creates a dialogue regarding their dynamics in history. The use of fabrics and rich materials, as well as the layered directional lighting are inspired by renaissance paintings, who historically did not depict people of color. If they were included, they were typical only as background elements within the works. In this way, she continue to combat the erasure and omission of black bodies, framing them in a position of elevation. After creating the images in camera, they are further manipulated digitally. She use multiple layers, painting in light and shadow, as well as color grading, to create a painterly image. Further manipulation may come in the form of archival images digitally collaged within the piece, using the image as a digital negative for cyanotype or as the base image for physical manipulation via embroidery, beading, gold leafing on vellum or encaustic. The use of beading, embroidery, gold leafing, and wax are all inspired by the materials used in creation and adornment of clothing within traditional West African culture. She explore mediums and layering in order to grant myself freedom from the expectation of how a photograph should ultimately exist.

Photographer and Georgia native, Tokie Rome-Taylor focuses on the notion that perception of self and belonging begins in childhood. Children are the subjects she centers within her works, with a focus on representing a visual elevation that had been omitted from mainstream "western art history". Her works have a painterly aesthetic, using both digital and analog image making techniques. She often incorporates multiple mediums, including textile, embroidery, pigments, beading and wax. The resulting works challenge the viewers expectation of what a photograph should look like.

Working in tandem with her centering of children, Rome-Taylor explores questions that stem from ethnographic and historical research. These questions probe material, spiritual, and familial culture of descents of southern slaves act as entry points for Tokie Rome-Taylor to build symbolic elements that communicate a visual language. The sitters' family heirlooms, and recollections of family history, are combined with the historical research about the lives of Africans brought to the Americas.The research centers on their material culture, spiritual practice, and traditions. These have all been used to create a visual language that speaks to our shared history. Children and their family heirlooms, the real or imagined histories of these children's families and their ancestors all collide to spark conversation around material wealth, familial and cultural traditions of African Americans in the South.

Rome-Taylor’s work is held in multiple private and institutional collections including the MOCA GA, The Fralin Museum at UVA, and the Southeastern Museum of Photography. She has an extensive national and international exhibition record including the Atlanta Contemporary, the Fralin Museum, The Southeastern Museum of Photography, The Griffin Museum of Photography, SP-Foto SP-Arte Fair in São Paulo, Brazil, and the Zuckerman Museum of Art, amongst others.
Photography has always been both my method of creating raw material, and my method of creating frozen moments in imagined historical time. It is a way for me to communicate my thoughts and ideas, much like paint and brushes are used by a painter.  

"Sometimes a pure photograph is enough to communicate that idea, the image tells me it’s “done” as a pure photograph. However, sometimes that idea I am trying to communicate requires more, so the photographs are further manipulated digitally. I use multiple layers, painting in light and shadow and color. I compose the photograph to capture the layering of person, textures, and objects to reflect the ideas I have. 

I explore mediums and layering in order to grant myself freedom from the expectation of how a photograph should ultimately exist. For me, the photograph is not about capturing reality, but about creating it. I am creating an alternative and imagined realm for my children to exist within that is hopefully reflective of an idealized reality they will ultimately inherit in real life.

Further manipulation may come in the form of archival images digitally collaged within the piece, using the image as a digital negative for cyanotype or as the base image for physical manipulation via embroidery, beading, gold leafing on vellum or encaustic. The use of beading, embroidery, gold leafing, cyanotype and/or wax are all inspired by the materials used in creation and adornment of clothing within traditional West African culture. The work becomes less about the pure photograph and more about the concepts and ideas the artwork is asking the viewer to explore."

- Tokie Rome-Taylor