From the Singular to the Indexical in Contemporary Portraiture, by Courtney Malick

For the past 14 years Paul Mpagi Sepuya has lived in New York and worked as a photographer whose focus was pinned tightly on portraiture. Not only did Sepuya think of his photos as portraits, he was, in the beginning, serious about shooting “straightforward” portraiture, as in taking a singular image of a person as a way of, at least within that moment, fully capturing their exterior and even their identity. However, unlike other portraitists, Sepuya found himself returning over and over again to the same subjects at different points in their lives. Not only that, but his process seemed as much based on happenstance as it did on investigation. He would rarely organize a shoot or a sitting within a particular place, but instead would randomly run into people he hadn’t seen in a while and arrange for a shoot on the spot. In this way, a fluidity that is not very characteristic of much portraiture seeped more and more into Sepuya’s practice, until it eventually became clear that to take one picture of one person and present it as conclusive was not only false but futile.