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Speaker 1: Madame Fraankie's work is centered around

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recontextualizing the day-to-day documentation of Black life.

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She is drawn to highlighting the various ways Black people hold

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space and occupy their time. Within her work she attempts to

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capture micro, communal moments, gestures of love and curiosity.

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Madame Frankie's work draws comparison of these documented

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themes against the social and ethical norms within American

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culture as a means to reshape Black narration and photographic

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storytelling. Frankie, welcome to the show. Happy to be here.

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How did you get into photography ?

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Speaker 2: It's been like a retrospective look, I think. In

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the end, I've discovered that I've always been into it, with

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obsession with family photo albums and stuff like that and

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just staring at an image one image per hour in particular,

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like my mom in front of a car and things like that. So since I

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was a kid but actively participating in it, I would

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have started in 2017 shooting digital and then taking it way

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seriously and switching over to film in 2020.

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Speaker 1: What assured that shift to film?

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Speaker 2: It was. So what I was finding myself exhausted with

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and shooting digital film was like having way too many

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pictures. Like I would go to a event. I got so many great shots

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but you would just 800 images In reality. It's ridiculous. 50

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images in reality is actually ridiculous when you look at it.

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So it was wanting to one adopt a newer process, like something

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that was going to force me to have to be serious. There's no

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out in your seriousness with film. It's either the limitation

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on how many shots you have or what are you shooting, how much

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time you spend on a moment. Like it all just brought that

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intentionality for me, so I made that switch.

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Speaker 1: Did someone teach you how to shoot film, or were you

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teaching yourself?

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Speaker 2: I was teaching myself . I want to say it started also

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because during COVID there wasn't much to do except get on

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YouTube, learn new skills. So then I want to say this started

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rolling in to watching folks take pictures. It started

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because it was like a research. At the time too, folks were like

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, hey, I'm picking my daddy's film camera or whatever. I got a

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daddy's film camera. Yeah, it was just on YouTube looking

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around. And then I remember calling my dad and asking him

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like, hey, can I use your camera ? And he said yeah, and then I

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just switched over and started experimenting, even with the

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developing side of it. I'm also pretty hands on, so it's all

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been really, really exciting for me. Yeah.

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Speaker 1: I love that idea of lineage that comes through your

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work, that even down to your camera. That's part of your

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family, part of your history.

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Speaker 2: It's more the lost memory. My mom reminded me I

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think I went home talking about it or something like about

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cameras and stuff, like dad's going to be getting his film

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camera or something, and then she started mentioning that she

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had one. I was like what do you mean? You have one, because

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we're like close. So my mom locked in. So to find out that

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she had one was confusing to me. And then she showed me the

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suitcase that it was in and I realized that I had been looking

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at that suitcase and so I was like five, it was just like this

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metal suitcase that I had believed that was holding all of

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her like versatility and stuff. But it was just a camera that

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she'd had since college because she took photography in school

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and yada, yada, yada yeah. I just was like wow, so you both

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have cameras, you have roots in photography and it was just mind

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blowing and both exciting. I felt like a surgeon, like new

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connections and stuff.

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Speaker 1: So yeah, yeah that sounds like an amazing feeling.

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What does it mean to recontextualize the

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documentation of Black life?

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Speaker 2: After I discovered what I was shooting and what I

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was looking for, getting into photography and looking at

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images and not really seeing my community photographs in its

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full spectrum, just in photo books and typically certain

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photographers are shooting a certain thing and what I was

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looking for was not being shown and then also saying where I

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live. The stories that get put out about my community they're

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very one sided flat and I don't think we have the opportunity to

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be photographed in a way that's overwhelmingly amounts of

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curiosity or overwhelming amounts of solid families and

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stuff like that. So, wanting to make that shift until it becomes

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something that feels so, even though the work is mundane

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images it becoming so full of it that it's like you might look

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at the work and one day be like there's lots of this stuff. I

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see this stuff all the time. So I'm not necessarily a native

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Memphian, as someone who's adopted the city as like home

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for me. Memphis is a very authentic and genuine space.

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It's not flashy or anything. It's even down to the buildings

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there are trying to do a lot of renovations, but it's a very

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honest city. I've been to, like St LA and Chicago, and it's

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really. You can often find folks are trying to prove a certain

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status or whatever, but we don't really deal with too much fluff

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here. Who are you for real kind of thing. So I think that's one

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of my favorite things about the city and it's yeah, it's really

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. It's a pretty calm place, like it's easy going pretty southern

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in its pace. You can pick up a conversation with somebody up

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the street, as long as you are coming with you know being

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genuine kind of thing.

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Speaker 1: So yeah, yeah, so you're not from Memphis. Where

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were?

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Speaker 2: you born, born, so my dad was in the military,

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retired now, and so I was born in Los Angeles and so we moved

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just a bit. I probably have a very short list in comparison to

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other folks who've been to Nebuchadnezzar or whatever, but

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yeah, we moved a little bit. So, born in Los Angeles, spent a

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time in Virginia, spent some time in Bahrain, I was like

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three or four years and then moved to Mimington, tennessee,

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and then I was actually in Memphis until college Wow, which

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is for those who are not from like 45 minutes up the street,

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yeah.

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Speaker 1: That's amazing. Do you think that, growing up in

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different spaces, especially Bahrain, do you think that finds

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its way into your photos?

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Speaker 2: I think maybe my this I don't have it as much as I

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did, but this constant outside looking in perspective, I think,

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is one of those things that kind of, though Memphis still

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feels very home to me, I still feel like I still see it, this

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is what you guys got going on. It's still very much a you guys

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kind of thing.

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Speaker 1: That's so interesting , yeah, yeah. And what inspires

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your photos?

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Speaker 2: Energy, because I don't necessarily like even for

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this last body of work I was given a topic, but typically if

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I'm just shooting free range, it's just energy, any moments

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that kind of speak to my heart, something that just catches,

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just things that I'm drawn to. So it's often it usually has

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involved, like kids in some form or fashion, one of the honest

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places to perspective, get a perspective from view of the

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world or whatever. So sometimes I am drawn to if there is

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anything going on, if it's a kid and their family, I'm drawn to

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that. But typically it's just, yeah, black storytelling. So if

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I see a moment that kind of feels like oh, this is speaking

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to me, then I photograph that because oftentimes those moments

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won't be what someone else will photograph Do you have a

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favorite photograph you've ever taken. It fluctuates, but

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currently my favorite one is King of the Hill, which was

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after the Elada exhibition. It's that large image of a kid in a

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little bunch of kids in the living room but one kid in

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particular center obsessed with that image. I think a lot of

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images from that work I it feels like divine capturing because

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again, shoot on film like you got one shot, maybe two shots

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with the particular 120 roll that I was shooting. So I was

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pretty floored that I was able to capture that. I knew what I

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wanted but to have it and it check also all of my photography

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boxes like lighting and contrast and storytelling and

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placement, like all of it is there.

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Speaker 1: I think that's my favorite one, right now You've

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just come back from exhibiting at NADA in Miami with tone from

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Memphis, was that?

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Speaker 2: your first art fair? Yes, as a featured artist. Yes,

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I do also work for tone as a marketing director, but that was

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my first time we're artists range. That was my first time

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featured. Yes, as an artist and a fair.

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Speaker 1: What was it like to attend the fair as an artist who

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was having their work showcased ?

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Speaker 2: Man. I think it was incredible. I think like the

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standing was exhausting. But, yeah, have an opportunity to

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speak with a wide range of folks , participate in the arts, like

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curators to gallery owners, the actual artists themselves I

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think it was just great. I can have an opinion about the work,

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but to hear folks involved in the works opinions because I've

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also had even the exhibition I have a folks who are just

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general consumers, like just human beings, just existing and

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interacting with the work. I know how they feel about it, but

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it's also really cool to hear people with different eyes react

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to the work. So that was it was incredible.

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Speaker 1: Did anything really stand out for other people's

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interpretations? Did anything strike you?

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Speaker 2: Honestly, I think it was more so that I feel like the

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message was delivered. I don't think anybody necessarily named

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something that was like something that I didn't want

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folks to get from the work, but I think it's also. It's just as

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meaningful. It seems to resonate with everyone. I think that,

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for me, was one of the biggest takeaways. Like wow, like I'm

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not just making this up, this is powerful stuff. So I think yeah

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, I think it would be that.

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Speaker 1: Can you tell me a bit more about tone and the art

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scene in Memphis?

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Speaker 2: Yeah, tone is a nonprofit black arts

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organization that's been existing on the scene Since, I

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want to say like 2014, and recently acquired a physical

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space in 2019. And the goal of it is just to elevate black

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communities in the full spectrum . So just any art form,

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professional development, artist development, just giving space,

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a platform for black folks to rise and shine. And then, in

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terms of the art scene, I'd say it's one that is bubbling kind

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of, as the same way as the city is also going through a shift. I

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think we're doing a really great job in the music scene.

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You can see a lot of folks with money bag yo and go really,

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folks really not only coming out of Memphis and shining, but

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people pooling a lot of Memphis, getting a lot of inspiration

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from Memphis music and putting it in their music and stuff like

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that. I think the art scene and visual arts and stuff like that

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is bubbling. We don't have a lot of galleries, but I think it

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really does feel like we're about to bubble over at the same

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. So it's not like you go to LA and you go to and I've only been

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LA once, yeah, I've been born there but in assuming that even

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in a quick Google that you can find cities that have just heaps

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and heaps of galleries. We're not necessarily made that way

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yet, but like folks coming out of school and the people that

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we've been interacting with, just seeing a lot of beautiful

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stuff coming up, so I think it's . I think it's, I think it's

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growing for sure.

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Speaker 1: Yeah, what was your journey to becoming an artist?

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Speaker 2: I think so I'll say like Tom really shifted that for

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me, because first I didn't know what the community was or

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anything like that, so I was just winging it. I wasn't even

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necessarily taking any of it seriously until joining just

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running a program that Tom was putting on A lot of it is having

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to find a community to get in. I always wanted to be an artist,

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even as a kid. I was always drawn to this idea of being

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creative and doing your own thing. I was never really great.

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I'm great in terms of charming the people. If I need to be a

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retail sales kind of thing would do I want to do that kind of

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thing, working a traditional job ? not necessarily. Yeah, I

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always wanted to be a creative and an artist. I think that for

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photography, once I realized because this is all still very

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new to me but there is a problem to solve and I can solve it

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with art, both in making the work and in even with this last

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exhibition I had an opportunity to teach classes and stuff like

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that. It's pretty locked into this, but this for me has been a

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very revolutionary moment for me, like photography. To me it

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was like music and photography existed together and I was

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having a bit of a push and pull, like what I want to do. But I

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think that what I have learned in this recent, within this year

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, is that who I am is like I am a photographer who is a musician

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. So for me I have just acquired officially, like who I am in

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this world artistically I am a photographer, visual storyteller

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, who makes music kind of thing.

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Speaker 1: I think it's so important to recognize that we

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exist in so many different ways and there's not just one way to

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do something, and there's just not one path that we need to

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take and those can exist together. As a musician, do you

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think that the art and the music ever come together in an

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interdisciplinary approach?

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Speaker 2: I don't think they have yet. I'm open to exploring

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that because the way that I see these images is blips and movie

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scenes and at one point in time I wanted to score a movie. So at

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some point potentially maybe writing music to those images or

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something, but I think I have not yet figured out what that is

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. But I'm not against the idea that those one day can be. Can

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you tell me a bit about your music. I'll leave it. I guess I

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can. But that's also been some of that turning point for me

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that I've always struggled to talk about the music. But the

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photography side has been so easy, even with my goal and the

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mission and everything. With music I guess I can say it's

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very. It's not experiments on the traditional sense but I just

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am always experimenting with kind of like your typical sounds

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, like influences, being like like Eric Abadou and the Angelo

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and stuff like that. It's very. I've learned that music is very

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it's for me. So when I'm making stuff, I tend to make things

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that when I play for people they say it's like therapeutic and

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hypnotic in a way, but still can maintain of those like

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traditional sounds or on the floor or whatever. Just it's not

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. It's not. Yeah, I struggled to talk about it. I do have music

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out. I do work heavily with the artist name to leave us our fear

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from Memphis as well and love it. It's a big part of me. But

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again, I still struggle to speak on it on a technical term and

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what am I doing with it or whatever?

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Speaker 1: Yeah, I checked out. I think you have one song on

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Spotify right now. I checked it out.

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Speaker 2: Yeah, yeah, yeah.

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Speaker 1: Yeah, thank you. As someone who speaks multiple

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languages, how does the silent medium such as photography lend

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itself to your narrative work?

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Speaker 2: Yeah, so I Spanish, italian and I say bad French.

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Well, yeah, I think so. When I was thinking about this, I think

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that it's more. That language to me is just like this constant

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search for understanding.

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Speaker 1: What stories do you see yourself telling when you

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turn the camera towards yourself ?

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Speaker 2: So that's actually a funny question because in the

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residency I'm jumping ahead but I'm learning that a lot of it is

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going to be this like deep exploration of self. So my folks

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in the military long-shore stores and I spent a long time

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believing that I was going to have an option to be from

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somewhere and for like a visa for somewhere, like cool, so

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they're in the military, it's not really cool to be from the

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country, or maybe even from the South. Right, my daddy's from

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Mississippi, my mom's from Indiana and I would lean into

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this idea that I can pull from places that weren't mine and

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just trying to attain an identity that was never going to

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be mine. So what it is leaning into, what is actually me, who

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is Southern, and same thing with Black identity. It gets pretty

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deep. But there were a lot of things that I was running

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towards or shying away from because I was led to believe

00:16:05
that it wasn't a part of my identity or wanting to grab

00:16:09
things that I didn't necessarily need to be my identity for me

00:16:12
to indulge in or whatever. So I think it's a lot of highlighting

00:16:16
the Southerness about me and appreciation of just Blackness

00:16:19
throughout and the different ways that it can show up and the

00:16:22
ways that all that I am and what that means in this

00:16:26
iteration of Blackness and being Southern Reflection, deep

00:16:31
reflection, in short.

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Speaker 1: What kind of qualities make someone Southern?

00:16:36
I'm really interested in explaining that to someone who's

00:16:40
never been to the South. What does it mean to be Southern?

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Speaker 2: I think it's how you feel. It's like fireflies and

00:16:48
seeing the stars and long conversations, and even though,

00:16:53
like Southern's can be known for being like nice, mean in a nice

00:16:58
way, or bless your heart, and stuff like that, my mom being

00:17:02
from the North and my dad being from the South, I would say he

00:17:06
went over in terms of the culture, adaptation, of being

00:17:09
like we'll do things at this speed or we'll. This is type of

00:17:12
food that we must eat and what food brings community and mess

00:17:16
with. Eat all the Southern foods now, black Southern foods now,

00:17:19
but it's, it's that stuff and the way folks talk, whether it's

00:17:23
slow, fast, we're like it's just the expression. And then

00:17:26
how you yeah, just how you interact with people, it's a lot

00:17:28
different. I find, in the North and my experience, that things

00:17:33
are like it's pretty brisk and I found in times where I want to

00:17:38
like ease into this, like I want to the sudden charm, and when

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there's no space for that, I struggle. So I think it's. I

00:17:48
think it's that and I'm and I think it's also what I'm doing

00:17:50
is wanting to do a focus of what I'm reading and what I'm taking

00:17:54
in, to start getting a deeper understanding, even for myself,

00:17:57
because all I know is that where I was raised and how my daddy

00:18:00
is and stuff like that. But I think there's so much more to

00:18:02
learn to be able to better articulate it. So that's what

00:18:06
I'm also.

00:18:08
Speaker 1: So what artists do you see yourself in dialogue

00:18:11
with?

00:18:12
Speaker 2: I am having really into the work of Andre Wagner.

00:18:17
He's a guy from Omaha, nebraska, and really big in New York

00:18:19
right now and he does work that is like it's in the same room.

00:18:25
So Andre Wagner will say Gordon Parks of Caramay, wing, and

00:18:29
there's Deanna Lawson. She typically shoots in color, but I

00:18:32
find that I'm really attracted to these four, their work

00:18:37
specifically because it feels really based on just simple

00:18:40
observation and the highlighting of these mundane moments. Andre

00:18:43
walks the streets and captures kids running and he shoots

00:18:47
typically in black and white. This is like a commission piece

00:18:50
for Gordon. I think my attraction to his work in

00:18:53
particular I would bring this up . But like the way he shot

00:18:55
Muhammad Ali was very. It was so honest and genuine. You could

00:18:59
see how grandiose he was, which also he was a man. I think he

00:19:02
did a really great job with that , doing it in black and white,

00:19:05
in the way that he is soft I think that's also what I want to

00:19:09
continue to have in my work and softness about our people. And

00:19:13
then Deanna, like I said, shooting in color, and I tend to

00:19:15
stray away from color unless there is a need for it, because

00:19:21
black and white keeps me honest and I think she does, like color

00:19:24
feels so necessary in her work because it's about capturing not

00:19:27
just the people but like the surroundings. So she'll shoot

00:19:28
someone in the living room and you need to know that the carpet

00:19:31
was blue and you need to know that the wall was red and stuff

00:19:34
like that. It's those things and Carrie May Williams, of course,

00:19:37
with the kitchen series obsessed, like a story just

00:19:39
based off of all the things that happened just in that kitchen,

00:19:42
like just in the kitchen, like cycling through these so many

00:19:45
stories that happened in the kitchen and how I believe that

00:19:48
it's easy to sleep on the idea. Yeah, it's just a kitchen, but

00:19:51
life happens here, transitions happen and all of that. So I

00:19:55
think it's that stuff like highlighting again those like

00:19:58
things that you might look over and these are the moments, kind

00:20:00
of thing.

00:20:02
Speaker 1: Absolutely. I'm so interested in what you said just

00:20:05
now about black and white, keeping you honest. Can you tell

00:20:09
me more about that?

00:20:10
Speaker 2: Yeah, Thank you. So I I feel like I'm relatively new

00:20:17
in the photography world and I spent a lot of time once I

00:20:21
switched over the film, because shooting with film keeps me

00:20:24
intentional and it's because of that limitation and then. So

00:20:28
then the next decision was like are you gonna shoot in color,

00:20:31
Are you gonna shoot in black and white? Simply, whatever you

00:20:34
have in the camera is what you have. And after looking at the

00:20:37
work like I was shooting color and shoot in black and white I

00:20:40
would notice that sometimes what would have pulled my attention

00:20:45
was someone has red shorts and I might miss a moment that was

00:20:47
happening over here because I wasn't paying attention to what

00:20:50
I actually wanted to capture. In the end, Could I look at the

00:20:52
work and maybe it was there, but I realized that it was this

00:20:56
color that kind of pulled me, and so, when I can skip out all

00:20:59
of that, it's about the eyes and the lighting and just pure

00:21:03
moment. So that's all that is is , I find, the most sincere way

00:21:07
of storytelling.

00:21:11
Speaker 1: What motivates you to create?

00:21:14
Speaker 2: The type of storytelling I'm trying to do.

00:21:15
It's starting to feel like it's brewing up this idea of like

00:21:19
mundane, black life, just going out and capturing the moments in

00:21:24
your house, on your porch. I feel like there's a lack Just

00:21:28
because you saw one like, until it becomes just abundant. I

00:21:33
think that's one of my motivations to create and I

00:21:37
think lately, as I've been like reflecting, it's starting to

00:21:40
feel that already in itself to me feels necessary. But what I

00:21:43
feel like we're experiencing in particular, like in the US, is

00:21:46
this idea of erasure, like this insane erasure that's happening

00:21:50
with education and changing of language and stuff, and so I

00:21:55
think it's becoming necessary to share truths through images,

00:21:59
because the stuff is, it's getting crazy for you, yeah.

00:22:05
Speaker 1: Do you ever deal with creative slumps and how do you

00:22:09
move through them if you do? Mm-hmm.

00:22:12
Speaker 2: Yes. So the answer is yes, and so what I've been

00:22:16
doing lately is trying to make everything research and turning

00:22:22
everything into research, everything becomes interesting

00:22:26
so that, like I can start pooling from anywhere, truly

00:22:30
trying to stay curious, asking questions. Do I know about why

00:22:32
this thing works this way? If I don't, let's look into it,

00:22:36
Watching things that I might not typically be interested in.

00:22:39
Somebody wrote this let me I'm thinking about. Let me see what

00:22:43
you're in product with. What was your project, what came of it?

00:22:46
And oftentimes I'm like pulling stuff out of that all the time,

00:22:49
just writing these. One line is down and I'm like why does that

00:22:51
make you feel? Feeling things keeps me feeling a slump. Feel

00:22:56
things that have been helping as well. I typically can be a

00:22:59
pretty nonchalant individual. Deciding to care about things is

00:23:03
better. Get you out of a swamp real quick.

00:23:07
Speaker 1: I love that. Deciding to care what a great concept.

00:23:12
Speaker 2: Yeah, can I?

00:23:13
Speaker 1: ask what are some of the quotes that are percolating?

00:23:16


00:23:16
Speaker 2: at the moment. Oh, let me see, I get something from

00:23:19
the bear. I love the bear, which was a show that I was

00:23:24
never gonna watch, love it. So sometimes I'm gonna like to

00:23:27
quote. It's more like I want something and get it in again.

00:23:29
This is not like revolutionary or anything, but like the bear

00:23:33
literally in there. They're talking about like why do you do

00:23:36
this, or why are you doing it in this way, or what is this all

00:23:39
about? But it's when you care, let's listen to the conversation

00:23:43
. Don't just have a restaurant and make really great food, but

00:23:48
you can take it even further than that. You can walk and

00:23:51
listen to folks' conversations, you can engage, you can overhear

00:23:54
something and you can decide to care about that and change

00:23:57
someone's life. So it's things like this Like okay, I wanna

00:24:01
care that deeply, and then what are things that are really

00:24:03
important to me? And then how can I take it up a notch? And so

00:24:06
the same. That's what I'm like even experiencing right now in

00:24:08
the residency. What are more ways that I can start

00:24:12
experimenting with photography and get really involved in it,

00:24:14
as opposed to just taking the picture and telling the story

00:24:17
that way? Are there other ways for me to print the image and

00:24:20
other ways to like use my hands with materials or like bringing

00:24:23
in, like my family stories and stuff like that. What other ways

00:24:27
can I do it? I'm not sure if it's gonna work, but that's what

00:24:29
I'll be doing is like experimenting with it, and that

00:24:31
comes from this idea of caring and like the details and like

00:24:34
ways to stress myself.

00:24:37
Speaker 1: Yeah, so, speaking of things that have held on to you

00:24:40
, what's some of the best advice that you've received as an

00:24:43
artist?

00:24:44
Speaker 2: Maybe it's more like a recurrent advice. Is that just

00:24:51
create. Like sometimes you'll. Sometimes, you know, you're like

00:24:54
, oh, I'm feeling so inspired today and I'm gonna go to the

00:24:59
studio, I'm gonna sit down and do this thing, but and it's

00:25:02
gonna be great, and you're working and you're like, wow,

00:25:03
I'm killing it. But then you might wake up one day and just

00:25:06
realize I'm not really excited to go to the studio, so I'll

00:25:10
skip it today and I'll just wait for the next time that I feel

00:25:11
excited. But learning that these are, that's just another energy

00:25:15
to create in and you can create something else. If you're

00:25:17
always making your work when you're at your peak of happiness

00:25:21
, then you're only speaking to that narrative. Go sitting in a

00:25:25
studio where you're bored. What is your bored work? What does it

00:25:27
look like? So I would say it's just, yeah, just to create. It's

00:25:31
always create.

00:25:34
Speaker 1: So, finally, to talk about your residency at

00:25:36
Crosstown Arts, can you tell me a bit about what you're working

00:25:40
towards right now?

00:25:42
Speaker 2: Yes, I've been sitting down experimenting with

00:25:45
different ways that I can do photography and or display it.

00:25:49
At least I'm working with ideas of what it is to keep something

00:25:53
alive, like there's this idea of if you say someone's name or if

00:25:57
you repeat things, that's what keeps it alive. And also my mom

00:26:00
is a painter, went to school for it, and my grandma is a

00:26:06
seamstress, and so my mom one time was like painting just all

00:26:09
the time and then eventually papered off just because of life

00:26:11
. But my grandma, it's art to them, like they moved through it

00:26:16
and it's like an art practice that never really gets

00:26:19
acknowledged as that. And so even for me, like growing up,

00:26:22
starting to reflect on those different moments where I

00:26:25
actually was witnessing my grandma working at her practice

00:26:28
and how she was making things for the family, and then how my

00:26:32
mom had like stuff laying around there was art tools that I

00:26:34
never really thought about, even the photography stuff, how that

00:26:36
slipped past me until a couple years ago, realizing that I had

00:26:39
been surrounded by her art, her chalk and film canisters and

00:26:43
things like that. And I'm wanting to practice with putting

00:26:47
photography onto fabric and like starting to work with what

00:26:50
it is to like stitch and stuff and like having those

00:26:53
conversations with my mom and my grandma, to have those

00:26:57
conversations. So when somebody asked me about these pieces,

00:27:00
like I can name, I can name my mom and I can name my grandma,

00:27:03
so the legacy, and like how can I physically incorporate legacy

00:27:07
into the work and things that just remind me of them? It's

00:27:10
just, I guess it's just love, just like putting love into the

00:27:14
work and wanting it to be attached to the things that I

00:27:18
believe that made me and inspired me.

00:27:22
Speaker 1: What are your plans for the future?

00:27:25
Speaker 2: I would love for the work to grow like to take a

00:27:27
large platform, to exist in other galleries, other like

00:27:30
museums, potentially I would love to do talks to spread the

00:27:35
good gospel of the work, kind of thing to teach. I really would

00:27:38
love to teach on a more consistent basis, like giving

00:27:41
folks the cameras and people's hands and tell people some

00:27:44
understanding, importance of telling their stories in this

00:27:47
kind of way. I think not too many people truly understand

00:27:51
seriously. You have a camera sitting in your room and just

00:27:53
start that is your story and then and go from there. You have

00:27:56
to have something extra to just get started.

00:27:59
Speaker 1: Yeah, that kind of leads into my next question what

00:28:03
advice would you have for artists looking to get into

00:28:06
photography or someone looking to become a photographer?

00:28:11
Speaker 2: I think so. For me, I would say one start with what

00:28:15
you have. So that's a, that's iPhone grade, if that's a

00:28:19
disposal camera, if you pick up a more range, perfect.

00:28:22
Absolutely start with what you have and look at images. Get you

00:28:26
, get to get your eyes on some photographs, get photo books,

00:28:29
get understanding of what you like and what you don't like,

00:28:31
and lean into some things that you don't like, because you'll

00:28:34
also find what you do looking at what you don't like. That's

00:28:36
been helpful for me as well. Just get involved in the world

00:28:39
of photography in any way that you can. I think it will serve

00:28:42
you, frankie.

00:28:44
Speaker 1: thank you so much for being on the show today. I

00:28:47
really love talking to you and learning more about your work.

00:28:50
Speaker 2: Yeah absolutely, it's been a pleasure.

00:28:52
Speaker 1: Is there anything that you'd like to talk about,

00:28:53
anything you'd like to promote before we close off?

00:28:57
Speaker 2: I guess musically me. And to leave you something out

00:28:59
of song out on Spotify, check it out, called Papa please, and

00:29:02
then you can find me. If you're looking for music at Madame

00:29:05
Frankie, and if photography looking for me looking at the

00:29:08
same thing, madame Frankie, but M M E Frankie on Instagram and

00:29:13
the website www, www, www, www.

00:29:21
Speaker 1: Thank you so much, frankie.