|Experimenting with remarkable deception and manipulating history is part of Fabiola Jean-Louis's cultivated master plan.|
Madame Beauvoir's Painting, 24" x 31," archival pigment print, 2016.
Madame Beavoir's Painting, masked in a heavy arsenal of froufrou fashion, initiates unsettling dialogue, obscuring idyllic fantasy and blatant reality in shocking orchestration. A woman draped in rich crinkled fabric and opulent jewelry stands before a framed image of a violently whipped figure, red particles deliberately splattered in small, intended doses. It is that of a slave. Slavery, though abolished in 1865, still remains an integral part of history, a bruise that can never be faded blemish. This beaten figure could have been this woman's ancestor, a great great great relative forever immortalized as indentured servant, as scientific beastly analysis.
|Carrie Mae Weems altered version a similar archive photograph version in her From Here I Saw What Happened and I Cried series. Chromogenic color print with sand-blasted text on glass.|
|Madame Leroy, Conquistador, and Madame Beauvoir's Painting grace the walls with layered visual meaning.|
For example, Madame Leroy is a theatrical vision. Gloomy background enhances radiance of her skin, of her gold gown and its whispering rustles and bustles, and glint of luxurious jewels at her ear, wrist, and chest. She stares out into the viewer's vicinity, languidly fixated while poised in demurely classic gesture, her elegantly high box braided coiffure nearly reaching top of picture plane.
|Madame Leroy, 24" x 31," archival pigment print, 2016.|
Violin of the Dead, 22" x 29," archival pigment print, 2016.
The Color Purple, 22" x 29," archival pigment print, 2016.
|Rest in Piece, 22" x 29," archival pigment print, 2016.|
In black history, despite evidence of aggravated murder and malice, the mental and physical harm of the brown body, the gauntlet is rarely thrown. Lost victims and the grieving family of those victims are guaranteed no belief in a system that was never designed to protect them.
There serves no justice, no peace. Only piece. And that piece is knowledge of being wronged.
|Coffee Dress, newsprint w/coffee stain, 5" x 7," 2015 in front of Passing, 40" x 60," archival pigment print, 2016.|
|Louis iii, 4" x 5," pattern paper painted with acrylic, 2015 (bottom).|