“I want to deconstruct the stereotypes surrounding queer black males and capture intimate and tender moments within their lives,” says photographer Clifford Prince King of his recent series, Clogs and Cornrows.

Frustrated the media’s stereotypical portrayal of black men – “they’re often portrayed as violent, uneducated and subordinate by the ‘dominant’ race” – King set out to capture an authentic image: one of creativity and sensitivity that reclaims the meaning of individuality. In a time when notions of both masculinity and ethnicity are being liberated in some arenas and very much constrained in others, the real picture can often be distorted. Therefore work like King’s – that reframes the narrative in tune with those at the heart of the conversation – is more important than ever.

Alongside a peek of King’s photo series, the photographer talks to us about subverting racial stereotypes and why we, as a race, need to change our collective preconceptions plugged by the media.

Alex James Taylor: How did you come up with the title for the series? What does it represent, to you?
Clifford Prince King: Clogs and cornrows are two very different styles involved in separate cultures, but they both have historical ties to colonialism.

Alex: The series looks to deconstruct stereotypes surrounding black males. What kind of misconceptions and stereotypes do you think are most important to break down?
Clifford: I think it’s important to display black men in a creative, sensitive and understanding light, now more than ever. In the media, they’re often portrayed as violent, uneducated and subordinate by the “dominant” race – all of which are ideas that are by no means universally true. I think the series showcases the exact opposite of media’s typical depiction.

Alex: The thing that comes across most strongly is a sense of softness in the images, shot (by the looks of it) mostly at their homes and very intimately. There’s a real sense of innocence and vulnerability. What did you want to capture and ultimately express?
Clifford: Intimacy and vulnerability were my intention. However, I wanted to ultimately express these feelings in a strong, empowering, yet tender manner. I wanted to show their awareness in being who they are in the world and display pain, but hopefulness. I often think about the paintings of Kerry James Marshall and how he sees so much beauty in being black, but there lies an understanding of an eternal struggle to be successful and accepted.

Alex: Who are the boys in this series? What kind of lives do they live?
Clifford: Some are strangers, some are close friends; most would consider themselves queer. They all have different upbringings and live their lives one way or another but share similar feelings regarding being young and black in America today.

Alex: Why was it important that you capture younger men, specifically?
Clifford: Coming of age is one thing, being black is another. Putting together those two aspects of life is a dramatic individual experience. At this age, we’re realising how we are blatantly subject to racial profiling and unfair judgement in our daily life. Despite this we use our youth to fight, encourage one another, and try to make things feel good in our communities.

“Some are strangers, some are close friends; most would consider themselves queer.”

Alex: What are the biggest challenges these men face socially? How do they deal with these?
Clifford: The men I’ve talked with specifically result to self care and conversations amongst their peers. Every person has a different experience and reality, but personally, these boys face tokenism, misunderstanding and often feel under valued in a social context.

Alex: From what you can gather through your work and conversations with the men you’ve profiled, how has the current political world mood/state impacted them?
Clifford: There are a lot of different emotions and feelings that vary with one’s background and environment. Some seem more affected than others. However, most of the boys are self aware of modern times and are taking it all in with a healthy approach. Self care and open dialogue with peers are a must, as well as surrounding yourself with people you care about and can feel safe with.

Alex: How did you originally get into photography?
Clifford: My father had a large VHS video camera that I began to use at a young age. I would film family members and objects around my home. Later, I started using disposable cameras and eventually bought my own point-and-shoot at a Goodwill. I’ve always been really inspired by cinematography in film, so that was my jumpstart to being serious about photography.

Alex: How important is it to you that you use your medium to encourage conversations about subjects – like this one – that matter to you?
Clifford: It’s important for people to feel something when they see my work. I understand everyone interprets images differently, but as long as my photographs are thought provoking and discussion-creating, I feel good. I ultimately want people to understand my vision of what my work represents, but that could be a long process.

See more of King’s work here.