Groundwork Series: In conversation with Takenya K. Holness

Takenya K. Holness (b. 1998) is a Jamaican-born, London-based visual storyteller whose work sits at the intersection of photography, writing, and cultural preservation. Her practice centres on documenting, preserving, and highlighting narratives from Jamaican heritage and Black British communities, with a particular focus on the nuances of memory, identity, and belonging. Through both lens and language, she explores how objects, spaces, and colours become vessels of cultural memory, shaping and reflecting the identities of those who inhabit them. Wattle and Red Earth sat down with Takenya to explore the ways her photography engages with culture, heritage, and creative expression, especially as it relates to rural community life.

Wattle and Red Earth Collective:

Your work often explores how spaces and objects hold cultural memory. In the context of St. Elizabeth and projects like our open living museum, how do you approach photographing spaces in a way that honours both their history and their present use?

Takenya K. Holness: I bring a high level of care, intention, and respect to the spaces I capture, especially Black spaces. For me, research is essential: understanding the past provides the foundation to even begin imagining or reshaping futures. Before I photograph, I commit to learning about the history and context of a space, which then informs how I approach it visually. I honour Caribbean space for the deep layers of identity it holds. Dwellings is a patient and honest study that excites me because it allows time for discovery, time to see how these spaces were shaped by histories of colonisation, but also how they live and breathe today in the ways we inhabit them. Although I am still in the early stages of documenting Dwellings, I believe being intentional, open, and deeply respectful is the best way to honour both the past and present life of these spaces.

from "Dwellings" (2024). photography.

WARE:

Wattle & Red Earth is deeply rooted in ideas of placemaking and architectural heritage. How do you see photography playing a role in preserving and reinterpreting Jamaican architectural identity for future generations?

TKH: What first drew me to photography was its ability to transcend time. It allows us to see and reflect on histories, to revisit moments that have passed, and importantly, to maintain autonomy in how we capture the present. That’s why I see photography as vital to preserving Jamaican architectural identity. It gives us the tools to build archives, spark discourse, and create resources that future generations can draw from when reinterpreting our built environment. With Dwellings, one of my main goals is to begin discerning what an authentic Jamaican architectural style might look like. For me, that means documenting what already exists, decoding which features of our homes are inherently ours, and which are remnants of colonial influence. From there, photography becomes not only a means of preservation but also a way to lay the groundwork for reimagining and building upon our architectural identity.

from "Dwellings" (2024). photography.

WARE: Much of your work bridges personal heritage with broader community narratives. How do you balance your own connection to place with the responsibility of ethically telling someone else’s story? TKH: Ethical storytelling is at the core of my practice. For me, that means listening first, making space for voices to be heard, for the unseen to be seen, and approaching every story with care and respect. Collaboration is central to this process, and so I ask questions, and research what has been done before, learning from both successes and mistakes. Although I am of Jamaican heritage, I don’t position myself as the voice of Jamaica or its people. I am also part of the diaspora, which means I hold a certain distance from local communities. That recognition keeps me grounded in the responsibility to engage directly with people in order to document authentically. What sustains me is a genuine love of space, people and culture. My willingness to learn, to integrate myself into new environments, and to remain open allows me to bridge my personal heritage with the deeper, lived realities of others. At the end of the day, these are real spaces, real people, and real histories. My role is to approach them with humility, care, and respect, while allowing communities themselves to guide how their stories are told.

from "Dwellings" (2024). photography.

WARE: Our projects often involve spaces in transition — unfinished structures, restored buildings, or evolving landscapes. What draws you to documenting transformation, and what stories do you think these “in-between” spaces can tell?

TKH: It’s the unpredictability that excites me about transformation! The sense of adventure that exists in the in-between. You can plan or sketch an idea, but the moments of transition are alive with history, surprises, and discovery. The people you meet, the details you notice, and the reasons behind these shifts all draw me deeper into the work. In Jamaica, when I look at unfinished structures through my Dwellings project, I see not just buildings, but stories of hope and dreams that didn’t always come to fruition. These spaces reveal so much— bad mind people, family tensions, financial struggles, and the harsh reality that not every vision becomes complete. Yet they also spark dialogue about the changing fabric of the Jamaican landscape, both socially and environmentally. For me, these “in-between” spaces hold endless possibilities. They are layered with meaning, bridging past intentions with present realities, and opening up questions about what the future might hold. Transformation feels limitless. It's where stories of resilience, struggle, and imagination converge!

from "Dwellings" (2024). photography.

WARE: Art is like a mirror for self discovery, what has photographing buildings revealed about you, to yourself? TKH: I’ve realised how much I love space, design, people, and culture and how blessed I am to wake up each day and tell stories through them. In many ways, I feel similar to the buildings I photograph. I have form and function. I hold complexities and deep histories. I am constantly reimagined and reinvented. I am building, healing, and sustaining myself, just hoping the wind doesn’t break me down, or the ocean doesn’t wash me away. Through this work, I’ve come to see that I am also resisting, fighting, and creating through art. And in every instance, no matter what changes or challenges come, I am still home.

WARE: What have you enjoyed about photographing Jamaican architecture?

TKH: Truly, everything. The land feels perfect to me, there is nothing like it. When I’m there, I can only see beauty. Of course, our history carries pain, but what stands out most is our resilience, which is both formidable and inspiring. Photographing Jamaican architecture and heritage fills me with hope. It reminds me of the strength embedded in who we are, and I feel forever grateful to witness and document that.

from "Dwellings" (2024). photography.

The WARE Collective is accepting donations to help build our Living Museum — centered on natural materials, sustainable practices and traditional methods.

Please visit the link to donate: https://jm.wipay2.me/v1/to_me/the_ware_collective