Voices of Affrilachia: Chris Aluka Berry’s Soulful Narratives Unveiled at Mason Fine Art

Mason Fine Art is commencing 2025 with an exhibit named “Affrilachia: Testimonies,” showcasing the artistry of Chris Aluka Berry. Berry’s poignant photographs emphasize the narratives of individuals of color within Appalachia.

Having been raised in a rural setting in South Carolina, the photographer Chris Aluka Berry is a self-taught artist influenced by the pine trees and cotton fields of his youth. He has cultivated a passion for capturing visuals that convey the unexpressed beauty of ordinary daily existence.

The concept “Affrilachia” was coined in 1991 when poet Frank X Walker from Kentucky utilized it to acknowledge the influence of African Americans in the vast Appalachian mountains. After spending six years in western North Carolina, northeast Georgia, and eastern Tennessee, Berry fully engaged with the communities of Black Appalachians. His goal is to showcase the variety and contributions of these residents, who dwell in a region often perceived as homogenous.

Rich in culture, Berry’s photographic pieces grant spectators a distinct viewpoint to observe Affrilachian happiness, grief, contemplation, diligence, and leisure. As a modern exploration of these societies, Berry’s works offer a nuanced perspective on the familial and spiritual connections that have remained steadfast despite the transformations occurring in the area.

Having grown up in the South with a Black father and a White mother, Berry encountered a complex path of self-discovery. Having experienced both integrated and segregated environments, he is particularly attuned to issues of racial representation and actively resists the erasure of communities from history.

“I believe one of my strengths as a photographer lies in my ability to engage with individuals and cultivate trust. I am biracial, and at one point my family enjoyed wealth but later faced poverty. I learned to connect with both white and Black individuals, and with both affluent and impoverished people,” explained Berry.

“During the creation of ‘Affrilachia: Testimonies’, I consistently began at the local church. The church has been a historically significant sanctuary for Affrilachians. In numerous locations, the church also serves as the local community hub. If I could gain the confidence of the clergy, I would then earn the confidence of the congregation.”

Berry elaborated on his methodology, stating that he permitted a natural affinity to guide him toward his subjects, and his subjects toward him. “It’s a feeling I often sense,” he remarked.

“If an individual is suspicious of me or prefers not to have their photographs taken, I simply move on. However, when someone presents me with an open invitation, I remain as long as possible. Once I establish trust with that individual, I can then nurture trust with their relatives and companions. It’s a chain reaction of going with the flow and discovering where it leads me.”

For Berry, his passion for photography initially stemmed from a fascination with film. He aspired to delve into cinematography, but at the age of 20, sage guidance from a mentor prompted him to refine his skills in capturing a single still image, as films are composed of countless individual images.

He acquired a camera and commenced taking pictures, ultimately securing a position as a photographer for a community newspaper. “That is where my genuine education in visual storytelling commenced. I became enamored with the impact of the still image and ceased to consider video work thereafter.”

Some narratives from local residents and written contributions by Appalachian authors Kelly Elaine Navies and Maia A. Surdam will supplement the photographs. The poems and essays offer further historical background to narrate the stories of a community that might otherwise be overlooked.

I inquired of Berry about his preferred photograph from the exhibition, and he recounted one he captured of 103-year-old Deacon B.C. Mance holding a handkerchief. Berry shared that at that moment, he was jesting with Mance, who teased him for taking too many photographs, prompting him to wave the handkerchief playfully in front of his face while Berry captured the moment.

“His face being obscured by that cloth became a representation for me of how Black individuals have existed in Appalachia for centuries, yet so many of their narratives, history, and contributions remain unrecorded, unrecognized, or unvalued,” Berry shared.

This image inspired him to deepen his focus on symbolism in the composition, obscuring, and capturing of his subjects. “In these photographs, the individuals serve as archetypes. They symbolize our ancestors; the narratives we will never comprehend.”

Chris Aluka Berry’s creations will be exhibited at Mason Fine Art starting Fri., Jan. 17 during an opening reception that will also showcase works by Charly Palmer and John Wissler.

On Sat., Feb. 1, they will host an artist discussion with Berry from 1-3 p.m. and a solo reception for his creations from 6-9 p.m., during which there will be a book launch, live music, and a poetry reading by Kelly Elaine Navies, Museum Specialist at the Smithsonian National Museum of African American History and Culture. Berry’s opening event on Feb. 1 will inaugurate Mason Fine Art’s Black History Month festivities.