A final thought I would like to introduce here relates to the way I worked. First I made rough sketches based on the pictures I took over the years. These sketches were scanned and printed on drawing paper to be inked, which often took several attempts. While inking, I added (or left out) particular details such as the masks discussed above. The ink drawings were again scanned and imported into Photoshop as different layers. With these layers I then assembled the page, adding lettering and other graphic elements such as frames or video stills.
This process, especially then the adding of details while inking, or the montage of visual and textual elements, reminded me of the term augmented reality, usually understood as adding an additional layer of information onto a preexisting image, in real time, with the aid of technological means such as artificial intelligence and computer imaging, in order to enhance representations by making them more interactive.
Baudrillard would have loved this.
This idea of augmented reality struck me as an apt working metaphor to describe what I was doing. By, as it were, overlaying –or enhancing– more or less realist representations such as photographs and early sketches with additional layers of interpretation and representation, such as masks and horns, I wanted to break open the walls around the assemblage of meanings (see, for instance, Jeffery 2016, 57) surrounding more common, stereotypical representations of Africa and Himba. I wanted to make the reader step into the moral universe Hyamakuma had laid out when he drew his six circles.