Dreams Deferred: Black Boys, Safe Spaces, and the Power of Wonder | Eli Williamson

The photo exhibition Wonder by Eil Williamson is both a tribute and a call to reflection—a visual exploration of the fragile space for Black boys to dream and wonder in a world that too often denies them this right. Created in response to the tragic death of Tamir Rice, Wonder invites us to confront the societal injustices that strip away the innocence and imagination of Black boys. Through poignant imagery, Williamson captures their resilience, their longing, and the profound question: What might their lives be if the world allowed them to truly wonder?

Can you share the inspiration behind the title "Wonder" and how it connects to the themes of your exhibition?
After Tamir Rice lost his life, I realized that as a society we have conditioned Black men and boys to be in a state of hypervigilance to survive the world that sees them as a threat. This hypervigilance forces us to constantly be aware of how we are perceived as threats in the most mundane situations. This hypervigilance robs us of the opportunity to look at the world with fresh eyes and an open heart. It limits our ability to see the possibilities and the opportunities that the universe has aligned in our favor. So, I decided to capture men and boys in the moments in which their eyes are open and their hearts receptive to the wonder that they can claim like anyone else.

 What inspired you to begin creating as a photographer?
My father is a photographer. I used to hate him for it because I do not like my picture being taken. Even so, he always kept me equipped with a camera and I would take pictures of the many places that I have been nationally and internationally.  In 2016 I took an image of a Black father on the train in NYC with his kids. The image meant such a great deal to me as a Black father that I started taking street images of other Black fathers with a small camera that my father gave me. After showing a few of my images to other men and seeing their positive reaction, I became serious about capturing the virtue of Black Men and boys. In 2021 my project the Four Virtues was born, and I began to focus my efforts and education to become a street photographer.
​
In what ways do you hope this exhibition will reshape the narrative around Black childhood and the concept of dreaming?
I have had a bucket list from the age of eight. I was blessed to have parents and a community who have allowed me to nurture my dreams so that I was able to do many of the things on my list. My hope is that every Black Man and boy can go back to the age in which they began to dream of the things that they want to do and more importantly the things they want to be. We have a right to dream like anyone else and we have a mandate to do so because of the sacrifices of our ancestors.
 
Can you describe some of the key pieces in the exhibition and their significance?
 Most of my work is from the South Side of Chicago, but I have several pictures from Detroit and New Orleans. These three cities I feel a deep sense of connection. My hope is that I can show the goodness that I feel when I see our communities in a state of harmony.

What would success look like for you regarding this exhibition?
I want people to expect virtue from Black Men and boys. It is with the expectation of virtue in which our commitments to FatherHood, Work, Wonder and Fellowship will be aligned with positive community outcomes. The expectation of virtue provides a personal way for us to see ourselves as solutions to problems that the community faces and creates the opportunity for accountability and self-reflection when we fall short.
How does this exhibition challenge societal perceptions of Black children and their futures?
I think that there is gross adultification of Black children that has disrupted our ability to build strong and healthy relationships within our community. My hope is that my exhibition brings us back to a place in which we take the weight off our children so that they can tap into the finite time they have for discovery and learn from youthful mistakes that will make them healthy adults.

Tell us about the journey in capturing the images in this exhibition.
I have shot anywhere from 100-1000 images a day for the last four years. Believe me, not all of my images are good, but by making the commitment to get out and shoot regardless of how I feel, it forces me to learn. As I begin my fifth year on this project I have begun to understand my equipment better, I have a better understanding of the environment and its uniqueness, and I feel an even deeper sense of responsibility to the subject.   

What role do you believe art plays in addressing trauma and fostering healing in communities?
Outside of this project I work as a nonprofit leader with my nonprofit Leave No Veteran Behind which provides transitional jobs for Veterans who are seeking to address issues like violence, community resilience, and economic disinvestment. Art is the most underappreciated medium that we have at our disposal to create the types of conversations that are needed to mitigate the worst outcomes. There is no greater opportunity to bring people together in ways that create communities of care than with the arts. 

How do you envision the impact of "Wonder" on both Black children and the wider audience?
I hope that Black children see themselves in my images and that they find solace in the idea that they can have wonder anywhere they find themselves. 

​What message do you hope attendees take away from the exhibition, especially considering current events affecting Black communities?
​I hope that attendees see their inner child in my images and begin a new partnership with that child as they go throughout their day. ​