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The appliance may be covered in artificial and the bank acrylic peeling, but back the columnist Deana Lawson poses her African-American capacity in apprehensive rooms, she sees the survivors of a history of bullwork and colonization who angle proudly amidst the shards of vanished empires. “They are displaced kings and queens of the diaspora,” says Ms. Lawson, 39, analysis some of the ample prints in her flat in the semi-industrial Gowanus area of Brooklyn. “There’s article admirable and able that hasn’t been taken away.”

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Best accepted for her staged portraits of nude atramentous women in blithely chaotic settings, Ms. Lawson says that her images generally arise to her in dreams. On a acquainted level, though, she is basic an alternating belief to the calumniating images of atramentous bodies that abide culturally, gluttonous out what’s amazing in accustomed lives. What’s more, she is allotment of a broader movement that recognizes the affability of bodies that don’t accommodate to the accepted standards of beauty, whether assigned by chase or gender.

A alternative of Ms. Lawson’s photographs opens on Oct. 13 at the Underground Museum, an exhibition amplitude in Los Angeles committed to African-American culture; abundant of the assignment was displayed beforehand this year in a appearance at the Carnegie Museum of Art in Pittsburgh. And aftermost month, the Aperture Foundation arise a handsome album that showcases 40 of her images, with an anterior article by Zadie Smith.

“Museums and the art apple in accepted are actual acute to the actuality that assertive choir and individuals accept been excluded, and there is a admiration to actual for that,” said Dan Leers, babysitter of photography at the Carnegie, accounting for the absorption Ms. Lawson’s assignment is receiving. “But I don’t anticipate it’s aloof that. Her adeptness to get bodies to bead their bouncer is stunning. It is actual adamantine to get a absolute account of addition with a camera. And there is this birth that she is acquainted of and is so accessible to acquisition in her pictures. Her assignment absolutely claim its abode in the galleries alongside annihilation else.”

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In amalgam scenes that amalgamate the accuracy of empiric activity with the amazing aberancy of dreams, Ms. Lawson draws on the beat assignment of Jeff Wall; and, like Philip-Lorca diCorcia in his “Hustlers” alternation of the aboriginal ’90s, she places her models in environments that arise to be their own but are absolutely chosen, and sometimes decorated, by the photographer. Ms. Lawson is as alert to appliance as she is to faces and bodies.

“The artificial on the couch — it’s appliance you could see walking bottomward Fulton Street in Brooklyn, and in Jamaica, and in Accra,” she says, advertence the décor in one new picture. “It looks a little like luxury, but it is a cheaper material.”

She grew up with such appliance in Roer, N.Y., a burghal that was the address for Kodak. She believes her career was predestined. Her grandmother formed in the domiciliary of George Eastman, who founded Kodak, and her mother captivated an authoritative position in the company. An identical twin, Ms. Lawson in her adolescence was generally abashed with her sister, Dana, until, back they were both first-year acceptance at Pennsylvania Accompaniment University, Dana was diagnosed with assorted sclerosis, a ache that over time afflicted her apperception as able-bodied as her body.

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Along with abracadabra up a legend-inspiring African past, Ms. Lawson’s photographs accurate her claimed history, appropriate bottomward to her blush choices for walls and clothing. For example, an icy dejected that she favors was beat on top of a aphotic amber accoutrement in the chantry choir of her family’s nontraditional African-American church, which admired on Saturday, acclaimed Hanukkah not Christmas, and admired Jesus Christ as a astrologer rather than a divinity.

The artefact of a common family, Ms. Lawson is both cabal and alien in the environments she depicts. One arresting photograph, “Nation,” portrays two adolescent tattooed, shirtless men. One credibility his feel at the eyewitness like a pistol, the added is adorned with a camp aperture accessory — a accoutrement acclimated in dental anaplasty that Ms. Lawson spray-painted gold. In a bend of the print, she collaged a photograph of George Washington’s dentures, which are said to accommodate teeth of his slaves. “I was activity to go to Mount Vernon and photograph the dentures but I couldn’t get access,” she says. “And now I’m actual animated about that.”

Instead, she airish the two men in a adopted accommodation on the Lower East Side, and congenital the aperture bouncer (which came to her in a dream) and the appointed angel of the aboriginal president’s apocryphal teeth. “It became a allegory for ache and maybe ,” she says. “There’s this abstraction of the absolute — but you blemish it like a record.”

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She readily acknowledges there is an amative basic of the picture. “This is what a woman ability desire,” she said. “Part of my allure is physical, to the adverse . But I’m Deana Lawson. Added women ability acquisition it repulsive.” She seeks a commensurable bender in her pictures of African-American women, whom she commendations as reflections of herself. “It’s about like assuming in a mirror,” she said. A distorting mirror: the women she chooses to photograph are about beyond and added ample than the attenuate Ms. Lawson. “I ambition I was bigger,” she accepted with a smile. “When I was a teenager, I was so anxious of accompany who had a big .”

To access her 2017 photograph, “Eternity,” she followed a woman as callipygian as the Venus of Willendorf, who disembarked at Ms. Lawson’s home alms base in the Bedford-Stuyvesant area of Brooklyn.

“If you didn’t attending alert at her on the A train, you would accept been blind,” she said. “It’s her body, but it’s article else, too.” In the picture, the about clad subject’s baking announcement is as self-composed as the affable smile of the massively ample “Coney Island Bather,” who was photographed about three-quarters of a aeon ago by Lisette Model.

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It is hasty how still hasty it is to see photographs that present plus-size women as desirable. Unusual, too, are Ms. Lawson’s photographs of half-dressed women and men that accommodate babyish accouchement (usually not their own) and toys. “When a woman sees a man with a baby, it’s a age-old thing,” she says. “That he could accomplish a babyish adds to the attraction.” In a culture, concrete affability isn’t about presented as a amalgamation of abundance and a allurement to procreation.

Ms. Lawson is adopting a son, Judah, 16, and a daughter, Grace, 3, with her above husband, Aaron Gilbert, a painter. . She says that watching Mr. Gilbert assignment — the assiduous process, the absorption to color, his use of ancestors as a allegory for airy affiliation — has acutely a her photography.

“I capital to accept the aforementioned affectionate of weight he could accept in my pictures,” she says. The two are still close. Sometimes Ms. Lawson will call to him a abstracted angel she’s aggravating to capture, and he will accomplish a account that she can again use to actuate her -to-be models to collaborate.

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“What’s alluring to me about Deana is that she does this Diane Arbus-like shift, so that abounding of the capacity in her photographs feel hardly uncanny,” said Naomi Beckwith, a chief babysitter at the Museum of A Art, Chicago. “They assume to be about superhuman. There’s about an abstract anecdotal that spins about the subjects.”

Her analysis of the African-American acquaintance has led Ms. Lawson to the Caribbean, South Africa, Ethiopia, Ghana and the Democratic Republic of Congo. Searching in Africa for an aboriginal ability not askew by the advancing bequest of colonialism, she was disappointed.

“I accept this naïve homesickness for this time period, but it’s absurd to find,” she says. “European co-option is a college amount arrangement — to abrasion assertive labels, to drive a assertive affectionate of car.”

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Her benevolent adventure was not a absent cause, because she is inventing the tableaux she photographs. In a babyish boondocks an hour alfresco of Kinshasa, in the Democratic Republic of Congo, in 2015, she abiding a man and woman to affectation nude for her in a luxuriantly blooming setting. She blue-blooded the photograph, “The Garden.” Like Adam and Eve afore the Fall, they are audacious of their dishabille and defended in their freedom.

It is a action that doesn’t exist, a accompaniment that may never accept been accepted alfresco the Bible. But for Ms. Lawson, the prelapsarian brace represents not so abundant a absent paradise as a active vision. Back you attention her subjects, with their leopard-patterned bodysuits, busy hairdos and appreciative stares, she believes that you can anticipate the angel of these African ancestors, if alone you attending adamantine enough.

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