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Khaleelah I. L. Harris on S p a c e B e t w e e n

At different moments in our lives, colors determine and depict the breadth and width of existence. Using a plethora of rhetorical devices, whether literally or metaphorically, those who are able utilize the colors surrounding and the physicality of human existence to govern themselves throughout the trials and tribulations of life. However, each of these colors and their respective moments, as well as the spaces we inhabit as we make our way, cannot speak to what we witness in the space between. Redeat Assefa’s exhibition prompts us, “What lies between presence and absence, what exists in the binary spaces?” In the space between the culmination of a thought and the formation of a new thing lies a world of visuals that express the philosophical conundrums which a rational existence thrusts upon us. As this exhibition holds a mixture of older and never before seen pieces, I encourage a kind of consumption of Assefa’s delicately titled works of abstraction that engenders consideration of time, space, and light through what is visual, in hopes that you might find respite. With oil paint, strategic and mesmerizing strokes both lead the way towards personal reflection while accommodating self-lead meditation. Between and amidst the stains, gradients, and more visible brush strokes you will hear from the inner depths of yourselves an exclamation; “you plucked your soul out of its secret place and brought it to the mirror of your eye!” It is with great vigor, in the various ways which it can be applied, that I present the catalog for the first solo exhibition of Redeat Assefa (b. 1992, Addis Ababa, Ethiopia). With care for the artists’ hope and dedication to self-care, I hearten the audience to open themselves towards what these works of abstraction might affect in our lives. Abstraction is indeed a portal, but the appropriate pathways the portal of this exhibition shepherds us must be determined in the contemplative moments throughout this journey.

“October” reminds us of the human condition. It speaks to the themes of duality, polarity, symbiosis, and conundrum. With attention and intention set to the two major colors which engage the majority of the canvas, Assefa speaks to her general artistic focus of seeking to highlight and normalize duality. There exists a delicate dance between that colors that provide overall characterization for this pieces. The beauty in this dance is that Assefa allows the audience to determine its nature. There are two soft strokes of darkness that graze the canvas, amidst the light shades that seemingly set the tone for this pieces, and Life is presented through oil paint.

What is life without dark hours, and what is darkness but a step away from certainty? In this piece we visit and revisit the moments of beautiful chaos which characterize every stage of the human experience. What calls for times in which we must veer away from certainty? What beckons our return to familiarity, and warm transcendence stimulated by ritual? More importantly, as we use color and tone to symbolize concepts, what is darkness and what is light?

In “October” we are encouraged to consider rhythm and meaning. It is a meditation on time and space/place, depending on where its audience is situated between the two.