As I stood in the midst of 4 rooms filled with works of art, all created by women, The Silent Voice that Roars, that’s what came to mind. I was attending the opening night reception of an exhibition at AVISCA fine art gallery, entitled "A Woman's Work."
Located in suburban Atlanta, the venue--owned and operated by women, whose director is Byrma Braham, a native of Jamaica--is a contemporary fine art gallery specializing in artworks created by black artist in the Americas, Africa and the Caribbean. In this month--Women's History Month--such an eclectic show hosted in a uniquely intimate, elegant space, bears testament to the will of women of color--their ability to survive, create, contemplate and celebrate.
April Harrison, "Side by Side"
Take for instance South Carolina native, April Harrison. The three pieces that she’s exhibiting are mixed-media paintings in acrylic, watercolor, magazine print, old coins and other conjured material, featuring women and young girls unafraid to express their autonomy, independence and sass. The ladies depicted in Harrison's creations are a perfect parallel to her sophisticated use of substrate--a complex layering of paint on canvas with appliqués in found objects, re-purposed as funky belt buckles, earrings and necklaces.
April Harrison's "Satisfied" (Detail)
Harrison's aesthetic is a rather painterly form of realism built upon figural stylizations that echo high-art illustrations, whereupon the shape of each person in her portraits are painted in a perspective, so that the women and girls framed within are deliberately placed well above the expected horizon, thus directing the eye of each viewer to gaze upward at the inspiring, color-filled bodies and faces. Through the hand of the artist, a relationship between gazer and subject matter easily develops, inviting admirers to experience a welcoming presence of humble grandeur, dignity and beauty. Of the women who have inspired Harrison throughout her life, she says "women contribute so much to society, yet they are expected to be silent...still, the powerful imprint of women is everywhere, as mothers, leaders, innovators and pioneers."
“Grace under Pressure” by Teri Richardson
Hanging from above or suspended upon a wall, Teri Richardson’s sculptural collages in recycled denim capture the imagination, as does the Modern-esque paintings of Grace Kisa, whose harmonized, color-field abstractions in 2-D seem a lovely, visual throwback to the palette and playfulness of Jean Miro—also taking design cues from the carved massings of Dame Barbara Hepworth.
Grace Kiza, "One Last Victory"
D. Lammie Hanson, "Upward Thoughts"
This is exactly what she does in a large 42in x 42in painting rendered on recycled tarp. In the painting, bubbling monochromatic color swirls about—baby blue to a more electric hue—coming together to form the face of a delightfully, beautiful woman. With an elegant dancer’s neck, the woman’s head gently arches to the side, expressing all at once, a state of sorrow, love, meditation, understanding and bliss. Looking it over, I see a soul laid bare, residing in a place of knowing.
The piece is called “Upward Thoughts.”
Another woman whose work caught my eye is Jean Chiang, a Chinese-American. Chiang sews lines of colored beads on canvas, which are patterned in an orchestrated fashion, reminiscent of abacus arrangements. Like Hanson, Chiang is also from New York, having grown up in the back of a Chinese Laundry.
Jean Chiang, "How Many Times
I was a bit confused when I first saw Chiang’s work, and I couldn’t get over the attentiveness to the detail in each of the pieces—the stillness and the silence--until I discovered that she has an interest in architecture, anthropology and archaeology. Then it all made sense, the way she constructs “historical” micro-sites, literally weaving and building her paintings as discovered artifacts, grounding each into a place of permanence. The work is here and now, but it also informs of some mysterious past. So evident is this in her diptych entitled “Inner Landscape”, created from acrylic, embroidery and beading on canvas.
What a beautiful contemplation.
And that’s just it; the lights are on, shining bright, but not glaring. Wisdom is in all these exhibiting women’s minds, such as Zoya Taylor who paints her women proportioned as dolls—oversized heads with expressive world-weary, saucer-sized eyes of elders. Taylor’s take on the human imagination is that “We all have a cast of characters that define our lives…personal demons or angels--spiritual or not, there’s a commonality in these characters. They draw on human themes of secrecy, pride and hurt, but also humor and love.”
Zoya Taylor, "Always a Bridesmaid"
Guest Writer:
Max Eternity, Editor and Publisher of Art Digital Magazine and contributing writer to Artworks Magazine, is a polymath who creates innovative print types reflecting the Bauhaus and Mid-Century Modernism. Via a network of informational web portals, he advocates for artistic and social concerns ranging from architectural preservation and digital literacy to government transparency and the Afro-Euro fine art construct. Eternity is the author of the successful 17-page nomination of Marcel Breuer’s final architectural design--the Atlanta-Fulton Central Public Library--to the World Monuments Fund, making that site the youngest building to be placed on their registry. In 2008, Eternity exhibited at Atlanta’s City Gallery East in the “Pin-up” show. Also that year he exhibited in Beijing, China, in a group show at the Haun Tie Museum. In July 2010 he will exhibit in a touring exhibition entitled "Homage", to be launched at The California Art Institute at San Diego. Contact Max at eternityatlanta@gmail.com
