Kriss Munsya
Born in DRC in the 80’s and raised in Brussels, he was confronted with his “differences” early on. The discrimination and violence he experienced in child-hood left a mark - one that grew to obfuscate his sense of self-worth. The internalization of these experiences disoriented him in search of self-preservation. It took him years to acknowledge how this distanced him from his loved ones, community, and Self [sic]. He took refuge in the distance. Safety was his priority.In his adulthood, his memories are calling on him to clarify his worth and reorient his efforts toward justice. He wants to get back to those he’d distanced himself from.
"Kriss Munsya shares his path to creative freedom
How can an artist be truly unique"
The Eraser Series
The Eraser juxtaposes experiences of the past with desires of the future. It is a story of change and transformation that centers a Black man revisiting experiences that have been normalized in critical reflection of internalized supremacy. Things that at the time he thought were normal now have new meaning and he wants to share the lessons within.
With The Eraser, he aims to translate his experiences into invitations to reflect on the impacts of supremacy.This project reflects critically on the past to inform transformational offerings for the future. As the protagonist revisits memories to re-imagine his past, he tries to erase the dominance of whiteness by transposing Blackness. However, memory is not easy to manipulate! Digging into the past always brings up unexpected things. With that, it imagines creative reclamations of space.
With The Eraser, he aims to translate his experiences into invitations to reflect on the impacts of supremacy.This project reflects critically on the past to inform transformational offerings for the future. As the protagonist revisits memories to re-imagine his past, he tries to erase the dominance of whiteness by transposing Blackness. However, memory is not easy to manipulate! Digging into the past always brings up unexpected things. With that, it imagines creative reclamations of space.
Highway Reflection
When he was 6 years old, his family went on a road trip to Germany. They stopped at a really low budget motel on the highway. He remembers he couldn’t sleep that night because of the sound of cars. The next day, his father and him played soccer in the parking lot while his sister and mother hung out on the grass.
At one point, the ball got away and rolled toward the fence separating them from the highway. On the other side of the highway, he could see a hotel. But that one was a fancy one. He could see rich white families in the pool. He remembers the patio was full of flowers. He was really jealous, and maybe a bit mad at his parents for choosing there they were staying.
He wanted to be on the other side of the highway.
It took him years to understand that he was exactly where he was supposed to be.
Now that he’s older, he’s trying to reclaim the past he never had. He’s trying to change his memories to change his future. But digging the past always brings up unexpected things.
When he was 6 years old, his family went on a road trip to Germany. They stopped at a really low budget motel on the highway. He remembers he couldn’t sleep that night because of the sound of cars. The next day, his father and him played soccer in the parking lot while his sister and mother hung out on the grass.
At one point, the ball got away and rolled toward the fence separating them from the highway. On the other side of the highway, he could see a hotel. But that one was a fancy one. He could see rich white families in the pool. He remembers the patio was full of flowers. He was really jealous, and maybe a bit mad at his parents for choosing there they were staying.
He wanted to be on the other side of the highway.
It took him years to understand that he was exactly where he was supposed to be.
Now that he’s older, he’s trying to reclaim the past he never had. He’s trying to change his memories to change his future. But digging the past always brings up unexpected things.
Black Mirror
That night, he went home after seeing a group of friends. Mostly white people. He remembers their conversations. They were littered with racist bullshit. It was more than usual, and he felt sick as he made his way home.
He entered the bathroom, it was dark. The light was broken... He couldn’t see his reflection in the mirror. The mirror was black. For a few seconds, he actually hoped he’d disappeared. He was afraid to see what was in the mirror: someone he always tried to hide from others, but mostly from himself.
In the dark, the mirror was shattered. In each piece he could see a different reflection of himself; a myriad of truths about himself. He always knew he was multifaceted, dynamic, and complex. These were truths about himself his environment never wanted to accept.
He didn’t understand why people around him never wanted to see him entire- ly. See the black man, but also the indie rock fan, the soccer player, the artist, the friend, the lover, the immigrant, the clown, the ghost. He always wondered what they were seeing instead.
He realized years after that what they wanted to see in him, was themselves. He turned into the mirror of their own limitations. He became their expansion. He became their strength and let them take his energy and vision away from him.
The only moment he was truly himself was in that dark bathroom, in front of the black mirror. Multiple faces, multiple realities, multiple outcomes.
He remembered his parents. When they moved to Belgium in the late 80’s. He remembered how they were acting different in front of white people... It was their way to survive a world that was openly violent with them.
Now that he is older, he tries to reclaim the past he never had to change his future.
That night, he went home after seeing a group of friends. Mostly white people. He remembers their conversations. They were littered with racist bullshit. It was more than usual, and he felt sick as he made his way home.
He entered the bathroom, it was dark. The light was broken... He couldn’t see his reflection in the mirror. The mirror was black. For a few seconds, he actually hoped he’d disappeared. He was afraid to see what was in the mirror: someone he always tried to hide from others, but mostly from himself.
In the dark, the mirror was shattered. In each piece he could see a different reflection of himself; a myriad of truths about himself. He always knew he was multifaceted, dynamic, and complex. These were truths about himself his environment never wanted to accept.
He didn’t understand why people around him never wanted to see him entire- ly. See the black man, but also the indie rock fan, the soccer player, the artist, the friend, the lover, the immigrant, the clown, the ghost. He always wondered what they were seeing instead.
He realized years after that what they wanted to see in him, was themselves. He turned into the mirror of their own limitations. He became their expansion. He became their strength and let them take his energy and vision away from him.
The only moment he was truly himself was in that dark bathroom, in front of the black mirror. Multiple faces, multiple realities, multiple outcomes.
He remembered his parents. When they moved to Belgium in the late 80’s. He remembered how they were acting different in front of white people... It was their way to survive a world that was openly violent with them.
Now that he is older, he tries to reclaim the past he never had to change his future.
Scarlet Ribbons
He was in a bar, talking with a white friend. That friend was saying how safe they felt walking in the streets of Portland at night. They shared that every time a stranger said something disrespectful or sexist to them, there was always someone there to defend them.
Before he could say anything, a person at the table behind them chimed in. A Black woman, who overheard them. She explained how her experiences were different. Whenever someone was disrespectful or violent or racist with her in the streets, no one ever defended her. Same city, different experiences.
He felt bad he hadn’t realized this before. After all he’d been through, it never occurred to him that being a Black woman was double the punishment.
Growing up male in patriarchy brought him a load of privileges. He couldn’t see them until later in life, really late. When he did, he was reminded of the story of the
Scarlet Ribbons:
A little girl was praying on her bed with her father before going to sleep. She was asking for some scarlet ribbons for her hair. Her dad left the room and she was sure that he was on his way to the shop to get the ribbons and she would have them in the morning. Her dad left and never returned.
The story makes him feel like his sisters are still expecting their ribbons quietly in their rooms. He feels like he had taken all the ribbons and left them alone. Now it’s time to give them back...
He was in a bar, talking with a white friend. That friend was saying how safe they felt walking in the streets of Portland at night. They shared that every time a stranger said something disrespectful or sexist to them, there was always someone there to defend them.
Before he could say anything, a person at the table behind them chimed in. A Black woman, who overheard them. She explained how her experiences were different. Whenever someone was disrespectful or violent or racist with her in the streets, no one ever defended her. Same city, different experiences.
He felt bad he hadn’t realized this before. After all he’d been through, it never occurred to him that being a Black woman was double the punishment.
Growing up male in patriarchy brought him a load of privileges. He couldn’t see them until later in life, really late. When he did, he was reminded of the story of the
Scarlet Ribbons:
A little girl was praying on her bed with her father before going to sleep. She was asking for some scarlet ribbons for her hair. Her dad left the room and she was sure that he was on his way to the shop to get the ribbons and she would have them in the morning. Her dad left and never returned.
The story makes him feel like his sisters are still expecting their ribbons quietly in their rooms. He feels like he had taken all the ribbons and left them alone. Now it’s time to give them back...
Domestic Attraction
He grew up in an African family in a predominantly white environment. From a young age, his friends, environment, and even sometimes his family made it very clear that he wasn’t Black enough, or too white. He was a Black kid trying to survive his own insecurities and problems while under pressure to be someone he wasn’t. Stuck somewhere in between.
Later, as a teenager, girls that he wanted to date repeatedly called him a Bounty [chocolate bar], white inside and black outside. That statement was hurtful. He was failing at being himself. This changed his relationship with Black women. He always felt like he was failing them. So he tried to avoid them as much as possible.
It also changed his relationships with Black men.
As a teenager, he never really understood the concept of community. He didn’t have one. He had his family and his friends. His friends came from all different backgrounds. One day, he was with who he thought were his friends. They had met another group of teenagers on a neighborhood soccer field to play. They started arguing about who was going to play next and things escalated quickly. A fight was inevitable. Most of the kids there were white or brown. There were only two Black kids. One in each group.
One of his friends yelled to everyone that the two Black kids should fight to decide who was going to take the field. They physically pushed them toward each other. They fought. He won, but left. He went home and cried. He had no idea why he was crying.
Now he knows. Racism is not only about discrimination against Black people, it also teaches us to hate each other. It took him years to not see other Black men as threats but as people to be interested in, to talk to and to love.
Now that he’s older he wants to reclaim that past he never had. He’s trying to reimagine his memories with acceptance by the community. But memory is a tricky one... There might be some glitches and bugs.
And starting to dig the past always brings up unexpected things.
He grew up in an African family in a predominantly white environment. From a young age, his friends, environment, and even sometimes his family made it very clear that he wasn’t Black enough, or too white. He was a Black kid trying to survive his own insecurities and problems while under pressure to be someone he wasn’t. Stuck somewhere in between.
Later, as a teenager, girls that he wanted to date repeatedly called him a Bounty [chocolate bar], white inside and black outside. That statement was hurtful. He was failing at being himself. This changed his relationship with Black women. He always felt like he was failing them. So he tried to avoid them as much as possible.
It also changed his relationships with Black men.
As a teenager, he never really understood the concept of community. He didn’t have one. He had his family and his friends. His friends came from all different backgrounds. One day, he was with who he thought were his friends. They had met another group of teenagers on a neighborhood soccer field to play. They started arguing about who was going to play next and things escalated quickly. A fight was inevitable. Most of the kids there were white or brown. There were only two Black kids. One in each group.
One of his friends yelled to everyone that the two Black kids should fight to decide who was going to take the field. They physically pushed them toward each other. They fought. He won, but left. He went home and cried. He had no idea why he was crying.
Now he knows. Racism is not only about discrimination against Black people, it also teaches us to hate each other. It took him years to not see other Black men as threats but as people to be interested in, to talk to and to love.
Now that he’s older he wants to reclaim that past he never had. He’s trying to reimagine his memories with acceptance by the community. But memory is a tricky one... There might be some glitches and bugs.
And starting to dig the past always brings up unexpected things.
Dark Side of The Moon
He was a 7 years old black kid in predominantly white primary school. And Like a lot of kids of his age, he liked to look under little girls skirts. He was never taught to look under little girls skirt. But from a young age, he was taught in the recess yard that he was different.
Young white kids didn’t want to touch him because they were afraid to be “dirty” and “ugly” like him. So logically, he thought that the other black kids were also “dirty” and “ugly” like him. So when he wanted to look under little girls skirts, he would only pick white little girls.
Growing, this self hate is what shaped his education, his views, his fantasies. His sexuality has been created by and for whiteness.
Now that he’s older he tried to reclaim his past. By accepting his own sexual biases, transforming them into something that will fit his vision. By replacing whiteness by blackness in his memories, he thinks he will heal faster, change for the greater but memory is a tricky thing.
He was a 7 years old black kid in predominantly white primary school. And Like a lot of kids of his age, he liked to look under little girls skirts. He was never taught to look under little girls skirt. But from a young age, he was taught in the recess yard that he was different.
Young white kids didn’t want to touch him because they were afraid to be “dirty” and “ugly” like him. So logically, he thought that the other black kids were also “dirty” and “ugly” like him. So when he wanted to look under little girls skirts, he would only pick white little girls.
Growing, this self hate is what shaped his education, his views, his fantasies. His sexuality has been created by and for whiteness.
Now that he’s older he tried to reclaim his past. By accepting his own sexual biases, transforming them into something that will fit his vision. By replacing whiteness by blackness in his memories, he thinks he will heal faster, change for the greater but memory is a tricky thing.
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Kriss Munsya is Shortlisted for the
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Kriss Munsya's new work is illustrating the Fiction column "Children of God" by J.M. Holmes for The New Yorker print edition! |
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Kriss Munsya | Monolithic Introspection
BURRARD ARTS FOUNDATION
April 22 - June 19, 2021
Kriss Munsya is a Congolese-born, Belgian-raised conceptual photographer living and working on the traditional, ancestral and unceded territories of the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and səlil̓ilw̓ətaʔɬ (Tsleil-Waututh) Nations. In the past year, he has received international acclaim for his collection THE ERASER, a self-exploration of internalized supremacy and hope.
Munsya’s new series, Monolithic Introspection, applies his use of vivid imagery to draw the viewer into critical reflections of humanity to engage audiences with questions about peoples, lands, resources and power. Created in collaboration with local environmental justice activists, the project weaves together a cautionary tale while centering the strength of those at furthest proximity to power.
The conceptual choices supporting Monolithic Introspection are framed by three pillars: Da Vinci’s Vitruvian Man, the Great Chain of Being, and Environmental Justice. The Vitruvian Man represents man as perfect and implies nature gifted human perfection.The Great Chain of Being depicts a hierarchical structure descending from godliness to man, animals, plants, and minerals. Over centuries, both have been leveraged to justify white Christian man’s supremacy and dominion over peoples, lands, and resources. Munsya includes Environmental Justice as a response to this legacy. It calls for the disruption and reconstruction of how peoples, lands, and resources are valued.
These three conceptual pillars have guided decision-making throughout the project, serving to identify collaborators, and to set priorities regarding composition. Early images in the series have been produced in collaboration with Black femmes active in local efforts toward racial and environmental justice, including with the Hogan’s Alley Society—a community organization that foregrounds the contributions of Black Vancouverites and which advocates for meaningful Black involvement in city-building.
By having Black models mimic the Vitruvian Man, Munsya interrupts the notion of calculated perfection with the presentation of systemic vulnerability. The orbs symbolize the tensions between nature-given versus human-made, and illustrate how supremacy tears us apart. Photographed on the Georgia Viaduct, the images are offerings that evoke curiosity about Vancouver’s Black History. They highlight the significance of the viaduct and its role in the displacement and erasure of Hogan’s Alley and Blackness in Vancouver.
Through its site-specific and heightened portraiture, Monolithic Introspection beckons interrogations of our environments, our personal relationships with one another, and how we distribute worth.
Text by Julia Santana Parrilla
Exhibition view "Monolithic Introspection" | Image credit: BAF
PAST EXHIBITION AT MRG
While we Wait: Records of Solitude
March - April 2021
works by Sarah Delaney, Annie Briard, Kriss Munsya and Jessica Bushey
We are pleased to announce the exhibition “While we Wait: Records of Solitude”. This group show brings together the works of four artists, Annie Briard, Sarah Delaney, Jessica Bushey and Kriss Munsya, living and working in Vancouver, BC. The pieces have been produced in the past year while under lockdown during the pandemic, while we are all waiting. Waiting for this pandemic to be over, waiting for borders to reopen, waiting for a vaccine, waiting to see what model or ways of living will manifest themselves after this is over, once this pandemic is over.
We are pleased to announce the exhibition “While we Wait: Records of Solitude”. This group show brings together the works of four artists, Annie Briard, Sarah Delaney, Jessica Bushey and Kriss Munsya, living and working in Vancouver, BC. The pieces have been produced in the past year while under lockdown during the pandemic, while we are all waiting. Waiting for this pandemic to be over, waiting for borders to reopen, waiting for a vaccine, waiting to see what model or ways of living will manifest themselves after this is over, once this pandemic is over.
Exhibition view 'While we Wait: Records of Solitude"
"1854 British Journal of Photography Kriss Munsya reclaims memories of childhood trauma and racism"
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The photographer and filmmaker’s first personal body of work revisits experiences from his upbringing as a Black child in a predominantly white environmentIt is the summer of 1991. Five-year-old Kriss Munsya is road-tripping with his family in Germany. They stop at a motel, where he plays football in the car park with his father, while his mother and older sister hang out on a nearby patch of grass. As he runs to retrieve the ball, which has rolled towards the fence, Munsya catches a glance of another hotel on the other side of the highway. He sees a beautiful swimming pool, a wealthy white family lounging beside it, and a patio full of flowers. He wishes he was on the other side.
Kriss Munsya is describing one of his early memories, which informed the images of his latest series, The Eraser: “I picked key moments from my childhood that made me the Black person I am today,” Munsya explains. The artist was born in the Democratic Republic of the Congo but relocated to Belgium with his family when he was three years old. They were one of the only Black families in a predominantly white neighbourhood.
“I had all these memories, and I thought, ‘What would happen if I was able to erase them? What if I had a machine that could erase all this trauma?” Inspired by Eternal Sunshine of the Spotless Mind – a 2004 film about a couple who use new technology to erase one another from their memories – Munsya imagined a world in which these traumatic experiences could be retracted.
Usually, Munsya’s chosen medium is film. This is the first time that he has used photography to reflect on his personal experiences. “I was fortunate enough to be able to take the time and think about my life,” says Munsya, who recently went through a course of therapy. “It can take a long time, and it is a privilege to be able to do that.” Many people assume that it was difficult to make personal work about trauma, he says, admiring how he can share work about it with such ease. “I didn’t rush through these traumatic experiences, I processed them really slowly. It was really therapeutic, because I did it in the right way for me,” he says. “Those scars are healed now, so I can talk about them.”
Adorned with flowers and ribbons, covered in mirrored glitter, or peaking out of draped fabrics, Munsya’s subjects are often faceless, so that the viewer can project themselves onto them. Like the flowers that run through the work, memories can have multiple meanings. “Nothing is just happy, or sad,” says Munsya. “When something is ‘Hollywood’ – as in, where there are good people and bad people – it’s not reflective of reality.” Showing these personal interpretations of his experiences of racism will provoke different reactions from different people. “That’s the closest I can get to my real life,” he says.
https://www.1854.photography/2021/03/kriss-munsya-the-eraser/
Kriss Munsya is describing one of his early memories, which informed the images of his latest series, The Eraser: “I picked key moments from my childhood that made me the Black person I am today,” Munsya explains. The artist was born in the Democratic Republic of the Congo but relocated to Belgium with his family when he was three years old. They were one of the only Black families in a predominantly white neighbourhood.
“I had all these memories, and I thought, ‘What would happen if I was able to erase them? What if I had a machine that could erase all this trauma?” Inspired by Eternal Sunshine of the Spotless Mind – a 2004 film about a couple who use new technology to erase one another from their memories – Munsya imagined a world in which these traumatic experiences could be retracted.
Usually, Munsya’s chosen medium is film. This is the first time that he has used photography to reflect on his personal experiences. “I was fortunate enough to be able to take the time and think about my life,” says Munsya, who recently went through a course of therapy. “It can take a long time, and it is a privilege to be able to do that.” Many people assume that it was difficult to make personal work about trauma, he says, admiring how he can share work about it with such ease. “I didn’t rush through these traumatic experiences, I processed them really slowly. It was really therapeutic, because I did it in the right way for me,” he says. “Those scars are healed now, so I can talk about them.”
Adorned with flowers and ribbons, covered in mirrored glitter, or peaking out of draped fabrics, Munsya’s subjects are often faceless, so that the viewer can project themselves onto them. Like the flowers that run through the work, memories can have multiple meanings. “Nothing is just happy, or sad,” says Munsya. “When something is ‘Hollywood’ – as in, where there are good people and bad people – it’s not reflective of reality.” Showing these personal interpretations of his experiences of racism will provoke different reactions from different people. “That’s the closest I can get to my real life,” he says.
https://www.1854.photography/2021/03/kriss-munsya-the-eraser/
PRESS
“Vancouver Artist Kriss Munsya wins Salt Spring National Art Prize: Dreams Tonite. Highway Reflection – The Eraser speaks to his personal experiences with discrimination and trauma as a Black man”, Stir Arts & Culture, by Gail Johnson, October 26, 2021, https://www.createastir.ca/articles/saltspring-prize-kriss-munsya
“Vancouver's Kriss Munsya wins Salt Spring National Art Prize”, by Steve Newton, Georgia Straight, Ocotber 25, 2021, https://www.straight.com/arts/vancouvers-kriss-munsya-wins-salt-spring-national-art-prize
“Children of the Good Book” by J.M. Holmes, Ficiton Column of The New Yorker, May 17, 2021 issue, https://www.newyorker.com/magazine/2021/05/17/children-of-the-good-book, his work as image to the story.
“Kriss Munsya reclaims memories of childhood drama and racism”, by Marigold Warned, 1845 British Journal of Photography, March 23, 2021. https://www.1854.photography/2021/03/kriss-munsya-the-eraser/
“How Bold Colors and Floral Arrangements Can Symbolize Guilt, Pain and Resolution”, by Jon Feinstein, Humble Arts Foundation Hafny, Februray 18, 2021. https://hafny.org/blog/2021/2/how-bold-colors-and-floral-arrangements-can-symbolize-guilt-pain-and-resolution
“Black History Month: The Eraser by Kriss Munsya”, by Sarah Beck, Musee Vanguard of Photography Culture, February 2021. https://museemagazine.com/features/2021/2/2/black-history-month-the-eraser-by-kriss-munsya
“Calgary's Exposure Photography Festival celebrates emerging Canadian talent in its 17th edition”, by Daniel Milroy-Maher, British Journal of Phorography, January 2021. https://www.1854.photography/2021/02/exposure-photography-festival-2021/
“L’artiste vancouvérois Kriss Munsya combat le racisme avec la beauté”, by Camille Vernet, ICI Radio Canada, January 23, 2021. https://ici.radio-canada.ca/nouvelle/1765220/art-blm-racisme-photographie-engage-activisme-vancouver
“The Eraser: Confronting childhood trauma through art and photography, by Taylor Alarcon, Creative Boom, January 13, 2021. https://www.creativeboom.com/inspiration/the-eraser-confronting-childhood-trauma-through-art-and-photography/
“The Eraser: la fotografia di Kirss Munsya come elaborazione del ricordo”, by Manuela Anna Maria Accinno, Rolling Stone Italy, December 2020. https://www.rollingstone.it/black-camera/racconti-fotografici/the-eraser-la-fotografia-di-kriss-munsya-come-elaborazione-del-ricordo/545068/
“Kriss Munsya: The Eraser”, by Michael Turner, Preview Magazine, October 2020. https://preview-art.com/preview/kriss-munsya-the-eraser/
“Sorana Munsya: Our Q&A with Sorana Munsya, psychologist and curator specialized in contemporary art created by African black artists”, by Chiara Bardelli Nonino, Vogue Italy, Ocotber 16, 2020. https://www.vogue.it/fotografia/article/sorana-munsya
“A Conversation with Kriss Munsya: Exploring race, memory and acceptance”, by Graeme Berglund, Lojel Journal, October 16, 2020. https://www.lojel.com/journal/a-conversation-with-kriss-munsya/
“'The Eraser' by Kriss Munsya” Perjus, July 16, 2020. https://www.perjus.com/features/2020/7/27/the-eraser-by-kriss-munsya
“Meet June Artist of the Month: Kriss Munsy”, SAD Magazine, June 2020. https://www.sadmag.ca/blog/2020/6/10/meet-june-artist-of-the-month-kriss-munsya
“Kriss Munsya's activist art. Multidisciplinary artist Kriss Munsya explores race, gender and identity”, by Gioncarlo Valentine, Creative Cloud. https://creativecloud.adobe.com/discover/article/kriss-munsya-s-activist-art
Podcasts:
“Identitaet und Rassismus: 3D-Fotoarbeiten des Kunstaktivisten Kriss Munsya”, Natalie Klinger, ARD Audiothek, Januay 14, 2021. https://www.ardaudiothek.de/fazit-kultur-vom-tage/identitaet-und-rassismus-3d-fotoarbeiten-des-kunstaktivisten-kriss-munsya/85201438
“For the Record with Kirss Munsya : Activism through Art”, Marian Diment. https://mariadiment.com/portfolio/for-the-record-with-kriss-munsya-activism-through-art/
“Ep. 102: Art Around the World, with Kriss Munsya”, Running Wild with Christine Podcast. https://hubhopper.com/episode/ep-102-art-around-the-world-with-kriss-munsya-1593850304
“Vancouver's Kriss Munsya wins Salt Spring National Art Prize”, by Steve Newton, Georgia Straight, Ocotber 25, 2021, https://www.straight.com/arts/vancouvers-kriss-munsya-wins-salt-spring-national-art-prize
“Children of the Good Book” by J.M. Holmes, Ficiton Column of The New Yorker, May 17, 2021 issue, https://www.newyorker.com/magazine/2021/05/17/children-of-the-good-book, his work as image to the story.
“Kriss Munsya reclaims memories of childhood drama and racism”, by Marigold Warned, 1845 British Journal of Photography, March 23, 2021. https://www.1854.photography/2021/03/kriss-munsya-the-eraser/
“How Bold Colors and Floral Arrangements Can Symbolize Guilt, Pain and Resolution”, by Jon Feinstein, Humble Arts Foundation Hafny, Februray 18, 2021. https://hafny.org/blog/2021/2/how-bold-colors-and-floral-arrangements-can-symbolize-guilt-pain-and-resolution
“Black History Month: The Eraser by Kriss Munsya”, by Sarah Beck, Musee Vanguard of Photography Culture, February 2021. https://museemagazine.com/features/2021/2/2/black-history-month-the-eraser-by-kriss-munsya
“Calgary's Exposure Photography Festival celebrates emerging Canadian talent in its 17th edition”, by Daniel Milroy-Maher, British Journal of Phorography, January 2021. https://www.1854.photography/2021/02/exposure-photography-festival-2021/
“L’artiste vancouvérois Kriss Munsya combat le racisme avec la beauté”, by Camille Vernet, ICI Radio Canada, January 23, 2021. https://ici.radio-canada.ca/nouvelle/1765220/art-blm-racisme-photographie-engage-activisme-vancouver
“The Eraser: Confronting childhood trauma through art and photography, by Taylor Alarcon, Creative Boom, January 13, 2021. https://www.creativeboom.com/inspiration/the-eraser-confronting-childhood-trauma-through-art-and-photography/
“The Eraser: la fotografia di Kirss Munsya come elaborazione del ricordo”, by Manuela Anna Maria Accinno, Rolling Stone Italy, December 2020. https://www.rollingstone.it/black-camera/racconti-fotografici/the-eraser-la-fotografia-di-kriss-munsya-come-elaborazione-del-ricordo/545068/
“Kriss Munsya: The Eraser”, by Michael Turner, Preview Magazine, October 2020. https://preview-art.com/preview/kriss-munsya-the-eraser/
“Sorana Munsya: Our Q&A with Sorana Munsya, psychologist and curator specialized in contemporary art created by African black artists”, by Chiara Bardelli Nonino, Vogue Italy, Ocotber 16, 2020. https://www.vogue.it/fotografia/article/sorana-munsya
“A Conversation with Kriss Munsya: Exploring race, memory and acceptance”, by Graeme Berglund, Lojel Journal, October 16, 2020. https://www.lojel.com/journal/a-conversation-with-kriss-munsya/
“'The Eraser' by Kriss Munsya” Perjus, July 16, 2020. https://www.perjus.com/features/2020/7/27/the-eraser-by-kriss-munsya
“Meet June Artist of the Month: Kriss Munsy”, SAD Magazine, June 2020. https://www.sadmag.ca/blog/2020/6/10/meet-june-artist-of-the-month-kriss-munsya
“Kriss Munsya's activist art. Multidisciplinary artist Kriss Munsya explores race, gender and identity”, by Gioncarlo Valentine, Creative Cloud. https://creativecloud.adobe.com/discover/article/kriss-munsya-s-activist-art
Podcasts:
“Identitaet und Rassismus: 3D-Fotoarbeiten des Kunstaktivisten Kriss Munsya”, Natalie Klinger, ARD Audiothek, Januay 14, 2021. https://www.ardaudiothek.de/fazit-kultur-vom-tage/identitaet-und-rassismus-3d-fotoarbeiten-des-kunstaktivisten-kriss-munsya/85201438
“For the Record with Kirss Munsya : Activism through Art”, Marian Diment. https://mariadiment.com/portfolio/for-the-record-with-kriss-munsya-activism-through-art/
“Ep. 102: Art Around the World, with Kriss Munsya”, Running Wild with Christine Podcast. https://hubhopper.com/episode/ep-102-art-around-the-world-with-kriss-munsya-1593850304