Artist
Delita Martin Statement
Statement
Art movements have always been instrumental in shaping the discourse of contemporary art, reflecting the cultural and societal shifts of their time. Among these movements, Cubism is a style of art that emerged in the early 20th century, characterized by fragmented forms, multiple viewpoints, and geometric shapes. It was pioneered by artists such as Pablo Picasso and Georges Braque, and soon became a dominant style in the art world.
Like many contemporary artist of today I too am drawn to cubism’s ability to break down and reassemble forms in a way that challenges traditional notions of representation. Although I use the same basic principles as cubism, I refer to my work as Afro-Cubism. Afro-Cubism is characterized by its ability to seamlessly blend diverse artistic elements into a harmonious whole. One of its defining features is the incorporation of bold, geometric shapes and intricate patterns that echo the motifs found in African art. These forms are often imbued with symbolic meanings, representing spirituality, cultural identity, and the shared experiences of the African diaspora.
Furthermore, Afro-Cubist art frequently embraces vibrant colors, reflecting the vivacity of African cultures. This visual vibrancy serves as a visual link between the past and the present, inviting viewers to engage with the history and emotions embedded in the artwork. This art form challenges the conventional notions of artistic expression and allows me to explore new mediums, techniques, and narratives that pay homage to my heritage while engaging with modern contexts. It encourages a dialogue between tradition and innovation, bridging the gap between past and present.
Sometimes I Wonder, 2023
Relief Printing, Charcoal, Pastels, Acrylic, Hand-Stitching, Printed Papers
Morel Doucet (b. 1990, Pilate, Haiti) is a Miami‐based multidisciplinary artist and arts educator from Haiti. He employs ceramics, illustrations, and prints to examine the realities of climate gentrification, migration, and displacement within the Black diaspora communities.
Through our dreams, we make contact with a vast, yet elusive side of ourselves. My work utilizes and reflects converging objects found in nature, such as an accumulation of flora and fauna. Drawing inspiration from nature’s paradoxical beauty, I aim to create work that not only stands out for its regal impact but also for its sensitivity. My inspiration comes from an ongoing interest and profound respect for indigenous tribal cultures of the Amazon, Aboriginal natives of Australia and the Yoruba tribe of West Africa. I am fascinated with garments and textiles of Native Americans and Afro-futurism. With this vocabulary of indigenous art, along with my personal dreams, I make whimsical forms resulting in a diary of my personal mythology.
Scientists say that every time we recall a memory we are in fact re-creating that memory—altering it, making the memory more self-centered—while history, by some definitions, is the effort to establish a “true memory.” So can a true history exist if no true memory can be made?
New York, New York: The Stop & Frisk Game Board, 2013 by Wesley Clark[/caption]The exhibition presented at Galerie Myrtis, Lest We Forget examines pivotal moments and figures in US history, as well as the everyday occurrences and unknown individuals that have impacted, to various degrees, the African American experience here, and by extension, throughout the world. Too often individuals, movements and ideas are discounted, overlooked or ‘smudged out’ in an attempt to lessen their societal and cultural agency and potency. What has come before is particularly poignant now, more than ever, and continues to reverberate in current issues , both progressive and problematic, such as Black Lives Matter and the examination of President Obama’s legacy in the final months of his administration.
