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As she grew older, Himid lost many of her childhood aunts and increasingly found herself playing the role. “I now try to make a meaningful contribution to other people’s lives,” she says. This reflection led her to create larger versions of her previous wood-plank installations, Drowned Orchard: Secret Boatyard, a 2014 work of 16 planks, and Old Boat / New Money from 2019, which consisted of 32 planks. Each of her 64 aunts has a distinct personality: “My team and I collected wood from everywhere we had garages, basements, workshops, workshops,” says Himid. After assembling the planks from salvaged parts, Himid began painting them and gluing pieces of ribbon, fabric, text, or even toys. (At least one unsealed shuttlecock caught my eye.)
“Everybody I spoke to about this project, you could tell they wished their aunt had painted it, and it was really extraordinary,” she says. It’s an ode to care, in all its forms. Himid’s strategic paintings find groups of black men and women trying to solve, or at least discuss, the world’s problems using everyday objects as metaphors. “I’m painting the moment between a question and an answer,” Himid says. “But of course, when people are trying to solve big problems, they often have big problems among themselves.”
In Flora Botanica, three women sitting in front of various plants are “trying to figure out what care is,” Himid explains. How can we improve care, from large systems to the small, interpersonal ways we show care to each other? Himid takes up another world concern in A True and Perfect Plot. “They’re concerned with how we feed ourselves, how we sustain the planet,” Himid says. Although the three figures are sitting in front of a panoramic model of forests and farmland, the view outside their window is of lakes and mountains. The decision makers are in a privileged position, detached from the reality of the matter.
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