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原创艺术品 (One Of A Kind)
图画,
木炭
在纸上
- 外形尺寸 高度 23.4in, 宽度 16.5in
- 艺术品状况 艺术品完好无损
- 是否含画框 此作品未装裱
- 分类 画图 低于US$5,000 形象艺术 男士肖像
This piece was created for the "playing the race card exhibition" Hastings United kingdom April-August 2024 and has sold privately. The joy in this work is my personal connection as a black artist to the figure drawn. Although many tribes paint their faces, the Southern Nuba tribe make themselves into art: the aesthetic is not for war or ritual, it [...]
This piece was created for the "playing the race card exhibition" Hastings United kingdom April-August 2024 and has sold privately.
The joy in this work is my personal connection as a black artist to the figure drawn. Although many tribes paint their faces, the Southern Nuba tribe make themselves into art: the aesthetic is not for war or ritual, it is a celebration of their own black beauty. They may change their artistic creation up to twice a day and villages compete for the most decorative and intricate designs.
There is a surreal and beautiful poetry for a black male artist to make an image of an indigenous black tribesman who has made himself into art. This brings about an invisible but intergenerationally powerful thread of connection between us. It closes the gap between history and the present and between east and west. The joy of black brotherhood is something I took for granted, until I lived in France for two years. that nod on the street, that way of calling each other brother, a shared sense of humour, of intrinsic community in a glance, was not available to me in deep rural France. The joy of coming home and seeing black faces smiling back at me was grounding - it rendered a sense of safety and belonging. That is why this face is so significant to me and why I chose to represent the unmasked part of the face in charcoal. For the Nuba, black is thought to be the most beautiful of all colours and is reserved for the best fighters and most elite. In the original photographic reference for this piece, the face is painted in clay. I chose instead to embellish with 22ct gold-leaf. The gold symbolises the wealth in our skin: in his as in mine. In some ancient cultures in Africa, gold was deemed to be a transcendental element. For example, in the Asante civilisation, gold was known as ‘Kra’, which means soul. It represented the life-force. This again speaks to intersectionality and intergenerational connection since my own heritage is from Trinidad, part of the vast legacy of the Asante. Gold is even used in well-being and therapeutic ways now, directly applied to the skin for healing. In this way, the gold is wealth, heritage, beauty and life itself.
The joy in this work is my personal connection as a black artist to the figure drawn. Although many tribes paint their faces, the Southern Nuba tribe make themselves into art: the aesthetic is not for war or ritual, it is a celebration of their own black beauty. They may change their artistic creation up to twice a day and villages compete for the most decorative and intricate designs.
There is a surreal and beautiful poetry for a black male artist to make an image of an indigenous black tribesman who has made himself into art. This brings about an invisible but intergenerationally powerful thread of connection between us. It closes the gap between history and the present and between east and west. The joy of black brotherhood is something I took for granted, until I lived in France for two years. that nod on the street, that way of calling each other brother, a shared sense of humour, of intrinsic community in a glance, was not available to me in deep rural France. The joy of coming home and seeing black faces smiling back at me was grounding - it rendered a sense of safety and belonging. That is why this face is so significant to me and why I chose to represent the unmasked part of the face in charcoal. For the Nuba, black is thought to be the most beautiful of all colours and is reserved for the best fighters and most elite. In the original photographic reference for this piece, the face is painted in clay. I chose instead to embellish with 22ct gold-leaf. The gold symbolises the wealth in our skin: in his as in mine. In some ancient cultures in Africa, gold was deemed to be a transcendental element. For example, in the Asante civilisation, gold was known as ‘Kra’, which means soul. It represented the life-force. This again speaks to intersectionality and intergenerational connection since my own heritage is from Trinidad, part of the vast legacy of the Asante. Gold is even used in well-being and therapeutic ways now, directly applied to the skin for healing. In this way, the gold is wealth, heritage, beauty and life itself.
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Michael Davis is a British born artist who has also lived in France. He was classically trained at London Fine Art Studios. His geode inspired collection of abstracts takes inspiration from the processes of nature, [...]
Michael Davis is a British born artist who has also lived in France. He was classically trained at London Fine Art Studios. His geode inspired collection of abstracts takes inspiration from the processes of nature, in particular the way that aesthetic beauty can be the result of intense external pressure and chemical synthesis. Initially, Davis was sparked by a love of malachite; the depth of the various greens, the dynamic frilling of the strata. This developed into a wider investigation into the formation of other geodes, representing their banding and colour fluctuations in oils, acrylics and digitally. Davis currently has a studio in Hastings, where he continues to explore figurative as well as abstract work.
