Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles

Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles

 

Historically relegated to a role “beneath” fine art in order to turn the tables on how we comprehend influence, identity, and artistic expression.

 

Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles

 

▏Emblazoned vibrant patterns and words like “TRUTH” and “LOVE”

Emblazoned with vibrant patterns and words like “TRUTH” and “LOVE,” Simone Elizabeth Saunders explores Black identity in relation to kinship, power, and survival. Her hand-tufted textiles (previously) merge cultural narratives and history with mythology, nostalgia, and personal experiences.

Saunders predominantly focuses on women, who she portrays in bold portraits and within fantastical, empowering scenarios. In recent works like “Girl with Butterflies” and “She Manifests Her Destiny,” figures embrace and commune with totem-like snakes, insects, and plants.

 

Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles

 

▏Rich Textile Traditions

Rooted in the myriad histories of the global Black diaspora and rich textile traditions throughout countless cultures, Saunders employs a craft technique historically relegated to a role “beneath” fine art in order to turn the tables on how we comprehend influence, identity, and artistic expression.

Saunders is represented by Claire Oliver Gallery.

 

Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles

 

Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles

 

Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles

 

 

 

 

Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles

 

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Osprey House

  Tucked into its tree line is the Osprey House, a one-lane dirt road winds around the Preserve, culminating at this property at Cedar Island

Sonia E. Barrett 的雕塑將古董書桌與非洲面具的翻轉融合

Sonia E. Barrett 的雕塑將古董書桌與非洲面具的翻轉融合

    這些古董書桌與那段充斥著貪婪、暴力以及通常片面的歷史敘述的漫長文化衝突時代有著切實的聯繫。翻轉融合「這些是那個時代的筆記型電腦,」“他們用這些書桌‘書寫非洲’,寫下家書、日記和報告,如今 Sonia E. Barrett 的雕塑將古董書桌與非洲面具的翻轉融合歐洲關於非洲的檔案。   當我們思考歐洲對非洲的殖民時,我們首先想到的是19世紀中後期被稱為「瓜分非洲」的時期。當時,英國、法國、西班牙和葡萄牙等國家已經控制了沿海地區的社區。正是在這一時期,內陸地區因其資源開採和進一步經濟利益的前景而變得越來越有吸引力。但所謂的「瓜分非洲」遠未開始。 到19世紀70年代,歐洲人控制了非洲大陸十分之一的土地,主要集中在北部、地中海沿岸和遙遠的南部。荷蘭東印度公司於1652年在開普敦建立了第一個歐洲非洲定居點。但跨大西洋奴隸貿易已經活躍了近一個世紀,並持續了近兩個世紀,在此期間,有1250萬甚至更多的人被送上船——其中大部分是前往新大陸。     當時,殖民者們用手書寫和傳遞所有訊息。小型便攜的木質書桌讓信件幾乎可以從任何地方寄送,書桌表面可折疊,覆以皮革,並設有存放筆、筆尖和墨水的儲物空間。 對藝術家索尼婭·E·巴雷特(Sonia E. Barrett)來說,這些古董書桌與那段充斥著貪婪、暴力以及通常片面的歷史敘述的漫長文化衝突時代有著切實的聯繫。 「這些是那個時代的筆記型電腦,」巴雷特談到她創作的「書桌」系列便攜式工具時說道。 “他們用這些書桌‘書寫非洲’,寫下家書、日記和報告,如今這些記錄構成了翻轉歐洲關於非洲的檔案。” 除了愛德華時代留下的書寫板外,巴雷特還運用回收的木材、皮革、天鵝絨、鋼筆、墨水和柳條,為雕塑賦予了富有表現力的面孔,令人聯想到非洲儀式面具。 “我認為(這些桌子)可以成為一種超越存檔信件的方式,與帝國對話。” 自古以來,非洲大陸不同地區和文化都創造了反映其信仰和傳統的獨特面具,而歐洲收藏這些物品的風潮則催生了延續至今的商業產業。與皮革或天鵝絨包裹的木桌類似,雕刻的非洲面具由木材削製而成,並以皮革裝飾。用於製作寫字台的桃花心木在熱帶氣候中成熟,“運輸方式與我們當時的運輸方式大致相同”,藝術家說道,他指的是當時的國際非洲奴隸貿易。     巴雷特在書桌底座上添加了柳條結構,象徵肩膀和身體,也可以像穿著禮服一樣寬鬆地穿著。從某種意義上說,這些作品就像管道或形而上學的傳送器。 「這些頭像可以與非洲僑民的身體連接,讓我們能夠追溯過去,就像它們曾經引導我們的祖先一樣,」藝術家說道。

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