Inspired by a new approach, this series looks at value and identity through a lens of displacement. When you are the one on display, it’s difficult to see yourself as the spectacle. It's hard to value cultural history as young black men when you are living in the most oppressed places and impoverished communities. As young African Americans looking for inspiration and knowledge, we find ourselves looking at idols and tokens that are on display not realizing we are the ones being displayed. There is no physical depiction of a human figure, which raises the question can any black bodies be put in these positions?
In this series, I plan to encompass the scope of race, identity, value, gender, and social hierarchies. These silhouetted figures represent the physical and mental state of black bodies navigating throughout American history. From cultural displacement to systematic oppression, black physiques are always being displayed. The figures are positioned in distinct dance poses, reflecting a sign of liberation and resistance from the restricted construct of a social framed network. Within these framed structures, I intend to evoke a sense of lateral movement through space and economic development with temporal moments of being on display that are restricted to move vertically or up the economic ladder. The backgrounds are a reference to a time in history when abstract expressionist color painters like Barnett Newman and Mark Rothko shot through the western canon. By using these modern master techniques, I want to understand the relationship between the moment these artists created new hierarchical social structures and what was actually happening with the African American diaspora during this pivotal time in history. Through this juxtaposition, I used symbols and monograms that fade in and out of the painting as a remembrance to our social disposition and its relationship to our current political climate.
Get Your Money Black Man
Ever Since I Left The City