
3 minute read
Forward: Our lives are collages of Identities, by Teri Henderson
from RESPLENDENT
Forward: Our lives are collages of Identities. Teri Henderson
Using collage as both a medium and a metaphor, the women in Resplendent have created collaged artworks that speak to the variations of Black feminine beauty, drawing from popular culture and their own personal archives. Resplendent features the work of Marryam Moma, Heather Polk, Khaleelah I. L. Harris, Bria-Sterling Wilson and Zoë Charlton. All five of these artists were recently featured in Black Collagists: The Book. Resplendent depicts Black women in various forms, resolute, resting, at leisure, strong, soft, and in all of the works Black women are centered and in focus, reflecting the mastery of the hands that moved paper across substrate to create the works on display, a resplendent and transcendent array of Black contemporary collage artwork. The works all signal the collective consciousness of Black woman collagists and definitions of what is considered beautiful in popular culture.
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There is an inherent and subconscious element behind the creation of collaged works. Some invisible force, perhaps divine, perhaps just deeply within our humanity, the work of Black women collagists calls to the tradition of Black collage historically, as well as less discussed traditions like quilting and assemblage. The works in Resplendent reference Mickalene Thomas and Lorna Simpson as well as the collages of Romare Bearden. Some connections are direct, some more subconscious. The artists in Resplendent were asked to submit works that spoke to their own definitions of Black feminine beauty in their own worlds. The results are a garden of collages that are exquisite, generative, and full of depth and beauty, reflecting Black popular culture of both past and present, from old Jet Magazine advertisements to African sculpture.
I am grateful to have known the women who are featured in this exhibition from my work with @blackcollagists and the publication of Black Collagists: The Book. I started Black Collagists as an instagram account (@blackcollagists) in the Fall of 2020 with generous support by the Doug + Laurie Kanyer Art Collection. The mission of Black Collagists is to correct the historical record of collage and of art history which has continually underrepresented the work of Black artists. Part of that mission is fulfilled with the publication of the book in November 2021, and also with this exhibition. It was important for me to give space to Black women collage artists specifically at this time. Historically Black artists have had their contributions erased, and Black women have had their contributions erased and disrespected even more so.
I wanted to curate a show that magnified the inherent beauty in Black art created by Black women and believe that is achieved with this show. Thank you to Mehari Sequar Gallery for the opportunity to exhibit the work of these brilliant artists. And Thank you, Marryam Moma, Heather Polk, Khaleelah I. L. Harris, Bria-Sterling Wilson and Zoë Charlton for sharing your work.

In Bria Sterling-Wilson, Boudoir, Her subject is centered, in stockings, seated in layers of fabric, collaged paper, lace curtains and wallpaper. Her head is tilted as her gaze confronts the viewer directly. Her afro is one of three hairstyles depicted in the piece, on her left a curly wig on a white dummy, and to the left, a mass of blonde waves. Her crown of tight curls is the most perfect choice to display her beauty.

In Zoë Charlton’s works, the artist’s avatar Sib is the subject. Sib anchors each of the screen prints and in Rendition (Clouds) she is depicted clutching a castle, her beauty concretely abstract, historical and modern. She dominates the print, holding court resolutely through a sea of trees and shrubbery. Her hair in two buns piercing through blue clouds. Each of the prints features small variations, pop culture easter eggs for the viewer to discover, achieved through stickers and decoration. The screenprints were produced by printmakers Amelia Hankin and Yar Koporulin for CulturalDC.
