admin, Author at Galerie Myrtis

Ya-LaFord

Ya La’Ford (born in 1979 in Bronx, NY) is a versatile artist, educator, muralist, and above all, a conduit between the visual realm and the intricate complexities of human communities. Working across a wide range of media including paint, sculpture, installation, video, and sound, she weaves layered meanings to engage with the universal language of art and create transformative experiences that inspire communal growth.

La’Ford holds a Master of Fine Arts in Interdisciplinary Arts from The Art Institute of Boston, and she also earned a Juris Doctor from the University of Florida’s Levin College of Law. As a first-generation American of Jamaican heritage, she gracefully navigates between her cultural roots and marginalized communities, utilizing the power of art as a medium of connection. Central to the artist’s mission is the creation of art and spatial experiences that profoundly revolutionize the social, cultural, and historical contexts of creative expression within the human journey.
(read Ya La’Ford’s full biography)

Impenetrable Cosmos, 2022
Acrylic, ink, pigment, glue,
alcohol, egg, bleach, heat, resin
& natural weathering on canvas, 21 x 12″
Image courtesy of the artist and Galerie Myrtis

CBS Saturday Morning Show, May 3, 2025
Video: Artist Ya La’Ford opens up about her career

Artist Ya La’Ford’s work spans mediums. Her prints, sculptures and installations have been featured in the Venice Biennale and in private collections like the Gates Foundation. Michelle Miller met with her to see how it all takes shape. watch full segment

Artist

Ya-LaFord-statement

Artist’s Statement

Fang, 2022
Acrylic, ink, pigment, glue, alcohol, egg, bleach, heat, resin & natural weathering on canvas
72 x 54 ″

Within my artistic practice, I embark on a profound exploration of the intricate journeys, paths, and metaphysical complexities that shape our existence in the realm of space. In doing so, I push the boundaries of conventional spatial and temporal notions, probing how our perception of objects and environments transforms as we traverse the physical world. At the very essence of my creative endeavor, there is a profound reflection of my cultural hybridity, rooted in the fusion of my Jamaican heritage and my experience as a first-generation American. This amalgamation empowers me to traverse diverse cultural realms and connect with vulnerable communities, all in pursuit of a universal language that can bind us together as one.

In creating my work, I strive to communicate the unseen experiences of humanity, intricately interweaving layers laden with geometric elements. These lines, echoing a vast range of political, cultural, religious, and historical vernaculars, speak a language that transcends boundaries. My creative process involves gestural geometric paintings, where acrylic layers on canvas form a foundation for line-making techniques utilizing stain dying, pigment, pencil, pen, ink, and thick streams of paint. By conveying the compression of time, space, and place, I collapse art historical references, drawing inspiration from the dynamism of the Italian Futurists, the geometric abstraction of Malevich, and the immersive scale of Abstract Expressionist color field painting. Within this synthesis, I aim to forge new narratives, abstracting images of cities, histories, wars, and geographies. Through frenetic mark-making, I explore social agency and unravel the threads of my own personal biography.

Art possesses the remarkable power to inspire change, facilitate healing, and foster unity in the pursuit of collective growth. I actively collaborate with various communities, embedding artistic expression into the fabric of local life. By transforming spaces alongside the community, my art becomes a beacon of inspiration, infusing labyrinths of creativity that encourage engagement, reignite industrial growth, and serve as pillars of encouragement for the community at large. Within these spaces, I present an intersection of visual incidents where gridded structures become fluid and flattened, akin to layers of urban graffiti. The environments I create stimulate the imagination, offering glimpses into imagined or futuristic realities rather than the actual present. Through a cacophony of lines, I symbolize the velocity of the future and the boundless possibilities of space, juxtaposed with the time-worn materials of pigment, pencil, and paint.

In essence, my art seeks to transcend boundaries, provoke thought, and inspire a collective reimagining of our existence. It is an invitation to explore the uncharted territories of our inner selves and the vastness of the human experience.

Artist

Fabiola Jean-Louis

As her vision evolved, Fabiola’s work expanded beyond self-portraits to include a diverse range of subjects, costumes, and even sculptures made entirely out of paper. Through her lens, she captured the essence of human experience, pushing boundaries and challenging societal norms. Her photographs have been described as magical, moody, and mysterious, reflecting her unique ability to capture something intangible and pure, transcending our ordinary reality.

Jean-Louis draws inspiration from various sources, with themes of Afro-futurism, science, science fiction, pre and postindustrial eras, elves, fairies, history, and folklore, prominently featured in her work. Photography and 3-dimensional forms serve as the artist’s narrative of visual activism, challenging the hegemony of society and inviting viewers to question established narratives.

Conquistador II, 2015
33 x 26 ″
Framed: 37 x 30 ″
Archival pigment print on hot press bright 320gsm

Artist

Fabiola-Jean-Louis-biography

Biography

Fabiola Jean-Louis is a talented photographer and conceptual artist known for her captivating and thought-provoking imagery and 3-Dimensional sculptural works. Born on September 10th, 1978, in Port Au Prince, Haiti, she later moved to Brooklyn, New York, where she nurtured her passion for the arts.
Fabiola’s artistic journey began to flourish during her time at the High School of Fashion Industries, where she discovered her deep-seated love for creativity. However, it wasn’t until November 2013 that she stumbled upon her hidden talent for photography while on a personal quest for artistic rediscovery. Initially using self-portraits as a means of convenience and shyness, she soon realized the power of her body as a medium to convey profound stories.

The series “Rewriting History” stands as a testament to Fabiola’s creative genius. Featuring hand-made period paper gowns, painterly photographs, and Polaroids, her body of work has garnered critical acclaim and was exhibited at esteemed institutions such as the DuSable Museum of African American History, Alan Avery Art Company, and Andrew Freedman Home, all of which are affiliated with the Smithsonian.

Fabiola’s artistic achievements extend beyond exhibition spaces. She was granted coveted residencies at the Museum of Art and Design (MAD) in New York City and the LUX Museum in San Diego, allowing her to explore her craft further and experiment with different techniques and disciplines. A grant from the National Endowment for the Arts (NEA) supported Jean-Louis’ 2023 project “Waters of the Abyss: An Intersection of Spirit and Freedom,” which honors the legacy of Black women who successfully fled, fought, and dismantled systems of enslavement in Haiti during the Haitian Revolution (1791-94), inspiring active resistance in the U.S. via the Underground Railroad. Featured at the University of Central Arkansas Baum Gallery, this monumental environment, made entirely of paper pulp, brings together multiple hands under the guidance of Jean-Louis with collaborative support from Annapolis-based artist Tawny Chatmon and students from UCA’s Department of Art and Design and Morrilton High School.

In 2021, Jean-Louis made history as the first Haitian woman artist to showcase her work at The Metropolitan Museum of Art. The museum commissioned her to create a life-sized paper sculpture for a two-year exhibition titled “Before Yesterday We Could Fly: An Afrofuturist Period Room,” solidifying her position as a groundbreaking artist and paving the way for future generations of Haitian artists.

Artist

Fabiola-Jean-Louis-statement

Artist’s Statement

Marie Antoinette Is Dead, 2016
Archival pigment print on hot press bright 320gsm
52″ x 40″

As a photographer and conceptual artist, my artistic journey encompasses the enchanting realms of magic and mystery and the power of visual activism. Through my work, I actively challenge the prevailing societal norms and hegemony. My creative explorations delve into Afro-futurism, the intersections of science and science fiction, the narratives of pre- and post-industrial eras, the rich tapestry of black history, the depths of folklore, the nuances of religion, and the profound resonance of African-centered spiritual traditions. These themes weave together, guiding me to excavate the intricate layers of blackness and navigate the profound complexities of my own identity.

My images have been described as both “magical and mysterious,” drawing viewers into a world where reality and imagination blend seamlessly. However, they are not solely intended to captivate aesthetically. Instead, they serve as vehicles for profound truth and storytelling. Through my art, I aim to disrupt dominant narratives, challenge ingrained biases, and create spaces for dialogue and introspection. I seek to reclaim and celebrate the diverse histories and cultural legacies that have often been marginalized or erased.

Afro-futurism forms a crucial pillar of my artistic exploration. By envisioning alternative futures rooted in black experiences and cultures, I challenge the limitations imposed by the present. Through speculative narratives and imagery, I invite audiences to reimagine the possibilities for black lives, centering their agency, dreams, and resilience.

My work also draws inspiration from the intersections of science and science fiction, intertwining the realms of empirical knowledge and boundless imagination. This fusion allows me to transcend conventional constraints and explore new dimensions of storytelling. I seek to forge connections between the past, present, and future, weaving narratives that highlight the endurance and ingenuity of black communities throughout history.

Folklore, religion, and African-centered spiritual traditions infuse my work with a profound sense of cultural heritage and spirituality. Drawing from the rich reservoir of myths, rituals, and symbols, I explore the ways in which these traditions shape individual and communal identities. Through visual symbolism and metaphors, I invite viewers to contemplate the
profound connections between spirituality, cultural memory, and personal transformation.

In the intricate mosaic of blackness, my art serves as a vessel for exploration, revelation, and celebration. It is an act of reclaiming narratives, challenging established power structures, and fostering dialogue. Through my images, I aim to provoke introspection, spark conversations, and inspire viewers to question their own perspectives and assumptions.

Exhibitions

Morel Doucet – Water Grieves in the Six Shades…

Morel Doucet – Water Grieves in the Six Shades of Death
May 20 – July 15, 2023

Opening Reception
Saturday, May 20th, 6:00 – 8:00 pm

Artist’s Talk
Saturday, July 8th, 5:00 – 7:00 pm

Galerie Myrtis is pleased to announce Morel Doucet’s solo exhibition Water Grieves in the Six Shades of Death. The opening reception will be held at Galerie Myrtis, 2224 North Charles Street, Baltimore, Maryland on Saturday, May 20th from 6:00 ‐ 8:00 pm. The opening is free, and all are welcome. No appointment is necessary to attend.

“In Haitian American Morel Doucet’s first solo exhibition at Galerie Myrtis, ‘Water Grieves in the Six Shades of Death,’ the multidisciplinary artist investigates critical issues of environmental racism and displacement of Black and Brown people from their homes, particularly those living in Miami’s Little Haiti neighborhood. Doucet deploys ceramics, colorful silhouettes of Little Haiti residents, indigenous birds, impressions of native flora and fauna, and decorative ironwork salvaged from demolished dwellings to explore the impact of climate change and developers on this marginalized community.” – Myrtis Bedolla

Morel Doucet
Black Maiden in Veil of Midnight, 2022
Slip-casted white earthenware
12.5 x 8.5 x 16 ″

pmtc

For those who encounter my work, I want them to stop, I want them to pay attention, I want them to not be able to look away
-Tawny Chatmon

Through the lens of photography and the layering of mixed media materials, artist Tawny Chatmon has captured the regality of Black youth. Inspired by the aesthetics of Austrian painter Gustav Klimt’s Golden Phase, Chatmon’s subjects are often depicted in period dresses and then layered with a mixed media of gold leaf, acrylic paint, and detailed with precious and semi-precious jewels. To add a spiritual presence to her subjects, Chatmon employs the Byzantine art aesthetic of elongating their bodies and dress. Consequently, these figures overwhelm the space. Adding emphasis are the grandeur and versatile styles and textures of natural black hair that serve as a celebration of Black beauty. Yet, there is also a stillness of these figures that echoes what Kevin Quashie (2012) describes as “the sovereignty of quiet” in which quiet “is a metaphor for the full range of one’s inner life—one’s desires, ambitions, hunger, vulnerabilities [and] fears.” … Chatmon’s work primarily focuses on creating a safe and healing space for Black childhood in western society, which is feared and often indistinguishable from Black adulthood.

Excerpt from the essay “What I Want You to Know: Chatmon’s Visual Love Letter to Black Children” By Tanisha M. Jackson, Ph.D.

Iconography/ A Hopeful Truth, 2023
24k gold leaf, 22k moon gold, acrylic paint & semi-precious stones
56 “x 42”

Exhibitions

An Artful Journey – The Collection of Dr James…

An Artful Journey: The Collection of Dr. James K. Hill (1935 – 2020)
Opening Reception: January 21st, 2:00 to 6:00 PM
Exhibition: January 21 – March 4, 2023

collection catalogue | preview the collection

Galerie Myrtis invites you to “An Artful Journey: The Collection of Dr. James K. Hill” on Saturday, January 21st, from 2:00 to 6:00 pm. The exhibition, which honors Dr. Hill’s legacy and passion for the arts, features prints, paintings, photographs, posters, and sculptures by prominent African American artists, many of whom were his personal friends.

Dr. Hill discovered that he had the “eye” and the discernment to become a true art connoisseur. Dr. Hill’s taste was eclectic and wide-ranging, evident in his collection, which includes important Harlem Renaissance artists, American arts, and handicrafts. He was an enthusiastic supporter of artists and programs at the Howard University Art Gallery and the Moorland-Spingarn Research Center at Howard University, as well as a frequent lecturer at the Smithsonian Institution’s Anacostia Community Museum.

Dr. Hill was a gifted scholar, scientist, medical educator, college administrator, and renowned expert on historic preservation and African American art. Hill graduated from Brewer High School (1953), and he continued his education, earning a (B.S.) from Eastern Michigan University (1964), (M.S.) from Howard University (1968), and (Ed. D) at the University of Florida (1974). He served in administrative and director roles in Howard’s hospital system. He would become a Microbiology professor at Howard University, where he later retired. He was a member of Phi Delta Kappa and Beta Kappa Chi.

Artwork is available from artists: Romare Bearden, Cornelius Marion Battey, Elizabeth Catlett, Eldzier Cortor, Daniel Freeman, Sam Gilliam, Palmer Hayden, Ethel P. Hood, May Howard Jackson, Lois Mailou Jones, Claude Lawrence, Jacob Lawrence, L. Leslie, Michael Platt, Addison Scurlock, Augusta Savage, James L. Wells, Charles White, and Hale Woodruff.

Dr. Hill was known for his weekly ritual of hunting for treasures. One of his valuable finds landed
him a starring role in an episode of his favorite television show, PBS’s Antique Road Show.

Art Fairs

Context Art Miami 2022

1 Herald Plaza, Miami, FL 33132, USA
Booth #A3
TICKETS & INFORMATION

Galerie Myrtis announces our participation in CONTEXT Art Miami featuring new works from Tawny Chatmon, Morel Doucet, Monica Ikegwu, Megan Lewis, Delita Martin, and Felandus Thames at Booth A3.

Tawny Chatmon

Morel Doucet

Monica Ikegwu

Megan Lewis

Delita Martin

Felandus Thames

Fair Hours
(VIP Preview) Tuesday, November 29 — 6:30pm – 10pm
Wednesday, November 30 — 11am – 7pm
Thursday, December 1 — 11am – 7pm
Friday, December 2 — 11am – 7pm
Saturday, December 3 — 11am – 7pm
Sunday, December 4 — 11am – 6pm
TICKETS & INFORMATION