so first i would love you to be able to see it in person, i dont think this truly translate in this format.
second there is alot of work in this you cant see, and still alot of work to be done. aaaaarrrrggggghhhhh
third this is the plight of the artist. part of it i dont know if i like it, i wonder if i am putting in to much work for something that wont work or wont look as good as it did in my head, but i am too stubborn to stop!
fourth as an artist i am supposed to be confident and sure about every mark. although i know where i want to be when this is finished, and i have a statement and a title. yet there are still some things that are unresolved. and thats good it means im growing and i and pushing and making some great work but off the record i feel like i am walking on a tightrope over a flaming pit, crazy thing is i love it.
being an artist is more than painting a picture its problem solving. this statement is getting me though right now ( as i write this at 3 in morning because i cant sleep thinking about this piece.
All art is not painting but the details put into the piece. #JWSR
Art of Edouard Duval Carrié
January 1, 2004, marked the 200th anniversary of the proclamation of Haitian independence by General Jean-Jacques Dessalines, the first leader of the “Black Republic,” as Haiti is often called. To celebrate that great occasion, the government of Jean-Bertrand Aristide, Haiti’s first democratically elected president, asked painter and sculptor Edouard Duval-Carrié to curate an exhibition of his work in the heart of Port-au-Prince, the nation’s capital.
Duval-Carrié now makes his art in a studio in the “Little Haiti” district of Miami, but like many of his countrymen, he is a man of the world. Studio trained in Paris, he has lived in Puerto Rico and Canada and even traveled to the Republic of Benin in West Africa, ancestral home of the divinities of Vodou (the national religion of Haiti). His work in various media celebrates these divinities and their role in the history of his country, especially the events of 1804. …
With Duval-Carrié’s carnival sensibility comes a quirky humor that enlivens even his darkest work. Seeing daily life through the scrim of carnival transforms his painted Haiti into a pays surréal, as he explained to Vodou scholar Karen McCarthy Brown: “Reality in Haiti can be so disastrous that you have to take a little excursion into some surreal or fantasy world. One has to create, hoping things will get better.” Of course such “little excursions” are really made through the looking glass (a favorite Vodou metaphor), as he further explained to art critic Judy Cantor: “The fantastic dimension in my painting is the fruit of observing everyday life in Haiti. … The conditions are so tragic that they have to be balanced with the supernatural.”
Duval-Carrié is a fusion artist. A child of the bourgeoisie, he has intuited (or imbibed) the aesthetic of a Vodou that is not so far from Max Ernst’s description of collage as “the coupling of two realities, irreconcilable in appearance, upon a plane which does not suit them” or, better yet, a Haitian aesthetic equal to Lautréamont’s definition of beauty: “the chance encounter on a dissecting table of a sewing machine and an umbrella.” Lots of sewing machines meet umbrellas on Vodou altars and in Duval-Carrié’s paintings.
The artwork is from the exhibition “Divine Revolution: The Art of Edouard Duval-Carrié,” at the University of California at Los Angeles’s Fowler Museum of Cultural History through January 30, 2005. The text, from the exhibition catalog, is by the exhibition’s guest curator, Donald J. Cosentino, a scholar of Haitian art and a professor in UCLA’s department of world arts and cultures.
This is my ode to Mark Rothko. A study of watercolor, in the way that he used oil paint.
Over 88% of the women in this country are plus-sized or over weight. Yet on T.V. We only see 1 or 2% of the women in this country. And every woman in the world is influenced by this 1%, these size zeros, filled with plastic and botox.
I wanted to show real women, the everyday woman. The mother, the grandmother, the auntie, the sister, the girlfriends, the wives, women that have actually gone through something. Women that have actually lived. Women that are 100% natural, and deal with their size as though it doesn’t matter.
Because of this weight, and especially the pictures of the larger ones, I began to call these the too nude nudes, because even women who are dealing with this weight are often discouraged by looking at these pictures. The way that society has force-fed an air-brushed image has made them unable to accept an image that is real. That is hips, thighs, bellies, and breasts. This is real life.
I was originally inspired from an episode of Opera where skinny women got into “fat suits.” I was intrigued by watching people’s reactions to these women. They were put in all different types of situations. A skinny girl who was used to receiving all this attention suddenly was being ignored. She even began to cry on stage because of the way it made her feel to be absolutely ignored this way. She said she felt as though she was invisible. I find it ironic that a woman who is plus-sized or over-weight would feel invisible. I think we as a society are missing out on real women in search of a fantasy.
- Jamele Wright Sr.
This gallery represents the evolution of my work from the beginnings to where it is today.
(Source: thejwsrcollection.com)
The Beginning
This series is where I first began watercolor abstracts. I experiemented a lot with different colors, techniques, and styles. I was finding my footing as an artist. I appreciate it for what it was, but I feel I have grown beyond these first few pieces.
- Jamele Wright Sr.
Look me up!
http://www.facebook.com/thejwsrcollection
like this fan page I am interested what you will think about it!
First Post!
Now it starts! I hope the world is ready!
- Jamele Wright
