A silver lining: An introduction to The Roots Necklace.

The year 2020 will quite possibly enter the record books as one of the most memorable years in modern history, beginning with the unexpected and tragic death of global icon and basketball great Kobe Bryant. Since his passing it is as if the balance in the world as we know it shifted, and everything changed. We are faced with an American election which sees mankind staring down the barrel of a gun with the possible re-election of Donald Trump for a second term as President, Black Lives Matter (#BLM) asserting itself as a result of racial injustice against black people (and other people of color) by the police to COVID-19 having the entire world at a standstill and in quarantine- killing close to as many as 153,000 in America alone. Amidst all this death, government enforced quarantine and political turmoil art seems to be the brightest silver lining. There has been a surge in creativity as large sections of entire populations globally are stuck at home, where we see the entrepreneurial and creative sprit rise to produce some fresh, new, and innovative art. My creation of the Roots Necklace is one.

Roots Necklace

A fusion of cultures and artistic traditions guided me in creating the Roots Necklace. As a Jamaican artist who is heavily influenced by the consciousness of Rastafarianism, my affinity to share that same connection in spirituality- alongside the need for those of African descent to reconnect with their heritage birthed my idea. In my previous post where I examined African art from the intricate standpoint of form and function, I explored some of the traditions which are symbolical in the creation of each necklace.

From the usage of the wooden outline of Africa, which symbolizes our connection to the earth and the Black continent, to the uniquely customizable inscriptions that can be placed on every piece, these aspects combined serve as a talisman of remembrance, spirituality and physical connectivity. I blended my love for two-dimensional art and appreciation of three-dimensional renderings, offering the world a new look at four-dimensional fine art as each necklace moves through space and time on our person.

Each necklace is carefully strung with the foundations of visual art as a framework of design in order to achieve maximum visual impact. I chose to make each by hand, from the outline to the painted design to pay homage to my African ancestors who were skilled craftsmen and women. The custom option which includes but is not limited to personal flags as seen above is offered, further adding to the personal connection to your necklace. This exploration in art is one that has been in the making for some time, and like many of the happenings thus far in the year 2020, this is my mark, bred from a call to action as black artists, but also as citizens of a richly creative and innovative world. A world that needs a silver lining.

Form and function in African Art, a brief examination.

Most art has both literal and figurative meanings attached to them, and if these meanings are understood, purposefully and skillfully used in the creation of a work of art the combination can convey subtle messages or sometimes bold outlooks on life that can change a nation, and even define a time period. Lately I have been rethinking the application of the literal and figurative in the context of form and function in handmade art (as some would refer to as craft). So, I’ve decided to re-examine my own approach and focus on African Art from a viewpoint of form and function.

firstly, lets us ask ourselves what makes African Art distinctively ”African”? the answers to this question are as vast as the landscape of the continent itself and cannot possibly be defined in a vacuum. However, there is a subtlety in differences with regards to particular regions and periods of their individual history. Form and function play a vital role in African art tradition and transcends the conventional appropriation of Art that is more common to Western culture. With varied modes of expression in sometimes small areas there is evidence of a much larger commitment to artistic innovation in form, expression and ensemble- what is made, how it’s made and how it is used.

Innovation in form is visible in the vast differences between art from early archeological findings prior to the twentieth centry and art being made in those same regions today, regions such as the Yoruba city of Ile-Ife. Culturally, innovation is encouraged in order to individualize differences in expression, however this speaks to a larger preference (of much of Africa) for varied forms of visual abstraction and the significance of naturalistic renderings. These bold interpretations and expressions embodied in sculpture and other forms of African art is what enticed European artists in the beginning of the twentieth century to rethink form in their work.

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Artists like Pablo Picasso demonstrated this in many of his paintings in the period of 1907-1909. Other artists would follow suit and explore these modes of abstraction two-dimensionally and three-dimensionally as well in years following Picasso. The sculptural primacy of design in African art stands on its own regarding three-dimensionality, but when combined with two-dimensional art a far greater consciousness in innovation is accomplished. Art created then becomes four-dimensional (spanning time as well as height, breadth and depth) where the human body plays a role in its transcendence. This is more evident in African jewelry, masks and clothing created in a variety of masqueraded performances.

Multiplicity in Function in African art takes numerous forms. Elaborate personal decorations, sculptures, adornment of jewelry, the wearing of visually impactful masks figuratively represents the differences of the individuals. Each aspect is a performance with art, many in their ensemble become art. Great emphasis has been placed on the transformation of the human body in African art, especially regarding adornment. Ancient paintings discovered in the Sahara and other regions illustrate human beings adorned in elaborate markings and beadwork which is conceptually spiritual and the physical correspondent to a mask. Human beings are a primary component in African art, where representations of the spirit, society and traditions coalesce in meaning simultaneously.

African Goli face mask.

In Western art iconography most generally a particular meaning and function is defined. In African art however meanings are more viried, hence art created can be used for a variety of functions by different members of the society. This dynamism in art symbolism adds to the unique nature of African art, especially in the realm of craft and jewelry making or other physical adornments.

African art continues to redefine itself, even in the twenty- first century, even though some critics still question its place as ‘art’. Form and function in African art adds to its intellectual complexity, furthermore adding to its aesthetic value and contribution to the arts globally. This aesthetic African quality and vibrancy has intrigued me to embark on this new journey fusing form and function, all the while challenging the canon of “art for art’s sake” that is typically applied erroneously to African crafts. this is a journey in education about my African heritage, its impact in my work and the direct role I wish for my art to have in society, both literally and figuratively.

Shifting your gaze: ‘Negus’, a dynamic and revolutionary approach to fine art.

One of Brooklyn’s finest, a child of hip-hop’s Golden Era and regarded as one of the genre’s most introspective and insightful artists, Yasiin Bey more commonly known as Mos Def has shaped a career that exceeds the boundaries that persist within musical genres and artistic expression. Bey has been garnering attention his entire career, confronting challenging social issues through his music with his wit and wordplay- particularly about the black experience in America and the world at large, through an Afrocentric lens. With Negus, maybe his most audacious artistic endeavor yet, it has landed him both praise and impertinent scrutiny from some about his undertaking of such a daring artistic endeavor.

Negus is a royal title in Ge` ez, an ancient Ethiopian Semitic language that denotes a monarch and which has been used to translate the words “king” or “emperor” in literature. It is used as the title to the current audio-visual installation at the Brooklyn Museum of his latest studio recording. Delivered through the usage of wireless headphones, the 28-minute long album will not be released in any digital or analog mediums, and is touted as an artistic experience devoid of “the distractions of technology.” Bey called upon the talents of various contemporary visual artists such as Julie Mehretu, Ala Ebtekar among others and commissioned them to create works (in collaboration with Bey) specifically for the installation after hearing the album. This dynamic and revolutionary approach to artistic creativity continues the upward trend of Rap solidifying its claim as fine art.

Courtesy of The Third Line.

In a recent interview, Bey proposed that his approach seeks to remove the hard line of what is considered fine art- not limiting it to only something one can hang on a wall, but extending it to music, specifically hip-hop music. He saught dynamism in the experience of art by uniquely juxtaposing the traditional museum experience. This juxtaposition boldly infringes upon the long-held fallacy of what it is to be cultured in the traditional fine art sphere, where a cultural gap has always been present between refined high art enjoyed and advertized in white history and culture, and art of people of color. An essay was written recently on Pitchfork.com about the exhibition which expressed a somewhat distant view of this insightful undertaking in art and dismayingly so, highlighted the troubling thought that art may just be losing its aesthetic appeal, even to those among us who rely on its longevity for inspiration.

Photo by Tiffany Sage/BFA.com

The essay partly assumes that the combination of hip hop music and fine art is a plea for validation from the art establishment, to rescue the genre from its assumed lower class. The success surrounding this long documented courtship of fine art and hip hop is widely debated with varying opinions, but historically the relationship has always been present. Rap’s early marriage with graffiti art in the early 80’s sparked the growing influence of art in the genre. With each era however where we see a change in artistic expression, the dynamics surrounding its relationship with music simply repositions itself to further fuel the debate. From artists like Jay- Z and Sean ‘Diddy’ Combs indicating their wealth through the purchase of multi-million dollar artwork, to the increasing number of music videos with embedded visuals of paintings and sculpture, we see that this romance has matured to what Yasiin Bey helped to curate.

The Negus installation is yet another attempt at enlightening us to the powerful influence of black culture, which seeks no validation nor kowtows for attention. From artists like Kehinde Wiley, Isis Kenney (@icewatercandy) and Thomas Evans (@detour303), it is evident that fine art and hip hop have found a life-long marriage that bridge the cultural divide, and stands face to face with the conventions of classism. I further assert that once more, black culture has found yet another way to penetrate the fine art canon, and continue to dispel misconceptions surrounding our ability to pioneer and shape the future. Furthermore, as artists and creators, let us continue this trend of black excellence fueled by unabated creativity and live by the words of Thomas Evans “Be the artist that you would want to meet.”

 

 

 

 

Window To My Soul Exhibition

 

The reception for the Window To My Soul Exhibition commenced on June 4th at the Athens Public Library, in beautiful Athens Ohio. The exhibition was a mixture of some of my most poignant earlier work that has resonated well with a wide audience, plus a few newer pieces that cohesively blend into my artistic vision and body of work.

 

 

The exhibit displayed 10 pieces, from limited edition prints to original paintings. It called for each visitor to have a sense of connectivity with fine art; connectivity that is increasingly lacking, as fine art is being vastly devalued because of what I believe is the de-sensitivity to it, partly as a result of the oversaturation of the market with bad or meaningless art. In my artist talk which is an important presentation at all my exhibitions, I challenged each individual to engage in provocative conversations surrounding each work as they engage with the symbology embedded in every piece.

Peilian Wu

 

I had the opportunity to share the space with another phenomenal artist, Peilian Wu. In her own words, Wu explains that her artwork is “influenced by formulas in traditional Chinese paintings which can be traced back to texture strokes in Ming landscape painting.” Her interpretation of the Ohio landscape in this style was a refreshing take on the natural beauty of the area, which I as a fellow international artist have come to love and represent in my own art. What I admired most about her work is her conveyance of cultural identity through her traditional style, which is seen as a direct extension of herself as a Chinese artist.

 

It was nice to see a few familiar faces who supported my previous shows in Athens, but even better to see some new faces who got introduced to brand ABFA that evening. My gratitude extends to each and every person who attended the exhibit and to those who helped to make it a complete success.

Myself and Curator Todd Bastin

 With another exhibition under my belt in Athens, I set my sights on surrounding towns in Ohio, aiming to diversify their artistic landscape and open doors of opportunity for artists of color like myself who have found a home in hidden gems across the American landscape similar to Athens Ohio.

 

 

 

 

 

Artistic License​

 

As artists, we have the right to express our interpretations through artistic license, free from being held strictly accountable for accuracy and, to be free from those who wish to suppress our freedom in creativity. Artists are notorious for creating their works from the inspiration that may arise in being exposed to other original ideas but are interpreted differently. This partly drives new and innovative art and awards us with keys to open new doors in interpreting and representing what is in our own heads.

Bouncing Ideas

Artistic license has always played a major role in my career, for I find inspiration in just about anything. I remember while growing up- and even still today- pouring over magazines and picture books that simply stretch my imagination. I may twirl the idea around in my head all day, just to get a feel of each minute part which will all harmonize and coexist in a composition. With all these fresh and exciting variations, each jostling to find a foothold, it is very important to apply a method of ideation which will help isolate the useful gems of information that will allow your own creative interpretations to be applied. When dealing with a reference photo or something that has already been created, be mindful your final piece isn’t a replica, unless it is identified as a copy of the original.

Flying Too Close To the Sun.

One of the attributes of ideation is that it is open to constant change, and with artistic license, you are free to represent those ideas however you wish. Challenges may arise however, for with a lack of correct information an artist may find his/ herself having to explain why a certain element takes on a certain appearance, especially in representational work or realism. With this thought in mind, it is possible to unintentionally use artistic license which may be to the demise of what could be a rather good composition, especially if it is of a more artistically ambitious or complex subject matter.

Take for example being an artist in Westen civilization and attempting to convey historical events or the like from Eastern civilization. Without accurate and detailed information, representing events would be vastly different and even grossly erroneous based on misinterpreted accounts. The artist may not be deliberately trying to misrepresent the inspiration, but not having the correct knowledge, he/she knows no better.

Feel free as an artist to find inspiration in the works of other artists. Inspiration is a very personal experience, but never should you feel reticent to disclose where it came from because of a fear of opinions about originality. Ideas exist in a free world and artists are oftentimes the ones with the inclination to snag them and create works of art.

 

 

On The Easel Today.

On my easel today I have yet another landscape painting, and you know well my love of creating beautiful landscape and seascape pieces. In this new work, I intended on portraying the majestic beauty of clouds and the effect they have in this work of art. In the piece, perspective plays a vital role, and this is primarily as a result of the clouds. Take a look below.

 

 

In landscape art, the understanding and usage of values and the principle of perspective is the most important thing to consider. In representing nature, one has to capture the essence of 3-dimensional space on a 2-dimensional surface, so the sense of depth is essential and is achieved through the proper treatment of the elements contained in a composition. Even in non-representational paintings such as abstract landscape painting, the paint can be used skillfully to convey depth. This is where Atmospheric Perspective can come into play. The clouds in the artwork recede into the distance, taking your eyes along a visual path deep into the horizon. Pay close attention to the cloud formations and their relationship with perspective, coupled with their direction in the composition.

 

Like many of my other “scapes”,  they boast a deep understanding of how to achieve depth in an artwork. Always paint with the principles and elements of art in mind. They are your framework for successful representations and connecting visually to your audience.

 

 

 

 

 

 

Reading Between the Lines. Draw More.

 

Drawing has always been a BIG part of my life.  My love for drawing started when I was quite young.  During those early days of my engagement with print media, I was mesmerized by the Hardy Boys illustrative Classics and Archie comics, and I started to draw “childlike” creations of what I was reading. My love for drawing remains true till this day, and it is the basis of my illustrative paintings – and let’s think about it, every great painting begins with the act of drawing to some degree.

While in school, I learned to utilize my ability to sketch and draw to my advantage. Essentially, I was able to encapsulate the large volumes of information presented during lectures in sketches, and sometimes in detailed drawings. One had to be “quick on the draw” to keep up. This led to a personal discovery of my most astute ability- my visual/spacial intelligence.

A recent post on Fast Company highlighted recent research done by the University of Waterloo, Ontario that discovered that drawing is particularly beneficial for older adults regarding memory. This is so because certain regions of the brain dealing with memory remain intact in spite of aging. As human beings age, the brain deteriorates; oftentimes leading to diseases that affect memory like dementia and Alzheimer’s, so episodic memory is directly affected. What is interesting however, is that while structures like the hippocampus in the brain (thanks Fallout 4) that deal with memory retrieval and coding may deteriorate, regions associated with visuospacial skills remain mostly intact, and this is what aids in the memory retention despite the effects of aging.

  

Illustrations by Adrian Blake.

There are myriads of studies that prove the positive correlation between drawing and memory development and retention. Each individual has unique skills and talents, and I know that not everyone will become famous artists and illustrators. However, if only for the fact that drawing promotes memory retention in humans as they age, or simply just passing the time without the guilt of wasting it, it is a good enough reason for everyone to explore their creativity and simply draw more. For as Paul Klee said: “A drawing is simply a line going for a walk.”

 

 

 

 

On The Easel Today.

On the Easel Today features a painting that boasts some of the most powerful imagery yet in my portfolio. This piece, still untitled contains the image of two figures: a male and a female- with the male figure laying in languid repose and the female figure closely embracing him in her lap. The idea behind this piece suggests that her embrace is one filled with sorrow- but is it only, as she holds him with her hand over his face? What could she be feeling or saying to you the viewer?

As with other paintings I have done before, I leave the door open for interpretation. You can decide if he is alive. You can decide what she may be feeling based off the emotion on her face and body language. I will leave it up to you to have a story in your mind as to the possible explanation of this piece.

 

 

 

 

The Black Artist And The Negotiation Of Identity.

Many more black artists could have been recognized and even celebrated as the traditional masters of the art word are today, had it not been for the color of their skin. Black artists try to penetrate the stereotype and show that despite the difficulties, we deserve recognition and praise for continuously navigating challenges to our breakthrough and longevity in the art world. We oftentimes end up negotiating our identity, rarely breaking the glass ceiling to success and even stardom as a result of the compromise we are ushered to embrace.

[When The Rain Comes- Adrian Blake]

The struggle to define oneself being a black artist, and to find one’s identity in the art world that will propel us on a global scale is not something that is taught or even attained via a degree from a prestigious institution. I believe that success is innate in us, but suppressed.  It is manifested eventually through embracing our black history, applying knowledge from our experiences and understanding the minutiae of our existence and individual calling as black artists. But more importantly, having the desire to change the disproportionate balance of power that has played a role in our endeavors.

The negotiation of identity for black artists is far more complicated however, because we are constantly being steered towards what is commercially profitable or towards social acceptance. That is the experience of the black artist. It does not necessarily point us toward our own talent and freedom of expression; which if widely accepted, would be a conduit to the fulfillment of being revered as great artistic minds throughout history. So many black artists nowadays are embattled between simply being refered to as an artist and being identified as a black artist, as if being referred to as just an “artist” gives a subliminal validation of acceptance.

[Kehinde Wiley. Photo by Chad Batka]

Artists such as Kehinde Wiley challenged “the visual vocabulary and conventions of glorification, history, wealth and prestige” – kehindewiley.com  using images of black and brown men and women throughout the world. He being the consummate modern day (black) master portraitist, surpassing the archetypal role of black artists throughout history, sets the bar high, because of bold and historic artistic statements in his works. His initiative to educate those like him to aspire to greatness through self discovery and acceptance is profound. He refused to negotiate his identity; embracing his black history, applying his knowledge and understanding that his existence as a black man is in need of representation in art.

[Artwork by Kehinde Wiley]

As we evolve as artists, especially black artists it is our duty to counter those longstanding stereotypes and break the glass ceiling that cripples our creativity, in hopes of changing minds and opening doors that have long been kept shut. Remain steadfast in your creative freedom, refuse to succumb to the pressure of creating mere ‘popular’ art and art for arts sake.

A mash-up of Universes.

[Photo illustration @robyniko]

Recently I stumbled upon a post by Mark Wilson of Fastcompany.com titled “ Famous modernist homes get horrifying Thomas Kinkade makeover”. Architect @robyniko explored the dramatic effects of the worlds that Thomas Kinkade creates with the addition of modern architecture by creating a series of “Kinkade mash-ups”. The title of the post caught my attention, for in this case the use of the word “horrifying” may just be a bit too harsh of an assessment.

[Photo illustration @robyniko]

The fusion of modernism and traditional art is becoming increasingly important in the 21^stcentury. Thanks to Cara Greenberg who coined the phrase mid- century modernism for her book Mid-Century Modernism: Future of the 1950’s tremendous strides have been made in the movement, and since then artists and painters like myself have become increasingly more open to ideas of fusion of the differing aspects of each method of art creation. There is however the question of aesthetics and its importance- and furthermore the impact that will be had if or when modernism is introduced.

[Photo illustration @robyniko]

In my own assessment of each piece, I believe inharmonious is more suitable. As much as the editing to create each piece was masterfully done, based on what we know of Kinkade’s work, the introduction of modernist architecture is not as seamless as the innate aesthetic of his original creations.  This is a fresh, new take on artwork that has been a part of many homes worldwide for decades. Needless to say however, the reactions to @robyniko’s work have been mixed. The works have been well received by a wide audience; despite being almost polar opposite of Kinkade’s romanticized downhome feel.