Felandus Thames is a conceptual artist living and practicing in the greater New York area. Born in Mississippi, Thames attended the graduate program in Painting and Printmaking at the Yale University where he received his MFA in 2010.
A Mother, Daughter, & Grandmother #2, 2021
76 x 48 x 1 ″
Hairbeads on coated wire on aluminum rod
variable
Hairbrushes installed directly to the wall
Recent group exhibitions include “Unmasking Masculinity for the 21st Century” at the Kalamazoo Institute of Arts and “Resistance in Black and White” at the Cleveland Museum of Art. His work was curated in the 2022 Venice Biennial exhibition “The Afro-Futurist Manifesto: Blackness Reimagined” for the European Cultural Counsel. His work was recently curated in the Virginia Museum of Fine Art’s critically acclaimed traveling exhibition “The Dirty South,” which appeared at the Contemporary Art Museum Houston, Crystal Bridges Museum of American Art (Bentonville, AR), and Denver Museum of Contemporary Art. His work received critical attention with favorable mentions in Art In America, Artforum, and Hyperallergic. Thames is a 2022 Harpo Foundation individual artist fellow and was recently selected by the US State Department for the “Art in Embassies Program” in Dakar, Senegal.
Monica Ikegwu, the hyper-realist portrait painter, captivates audiences with her unparalleled ability to breathe life into canvas through meticulous attention to detail. With a masterful command over the brush, Ikegwu transforms ordinary moments into extraordinary works of art, seamlessly capturing the essence and emotion of her subjects. Her hyper-realistic portraits not only showcase technical brilliance but also reveal a profound understanding of human expression, allowing viewers to connect deeply with the stories embedded in each stroke. Ikegwu’s art stands as a testament to her unwavering commitment to pushing the boundaries of realism, leaving an indelible mark on the world of contemporary portraiture.
Jessica, 2024
oil on canvas
48 x 36 ″
The primary focus of my work is African American youth and current fashion trends as a form of celebrating the Black aesthetic and self-identity. I strive to capture the essence of my subjects through photo-realistic portraits. Applying oil to canvas, I enhance the figure by rendering dramatic textured backgrounds with hues complementing their clothing and flesh tones.
Black youth are often judged negatively by their appearance; an afro, braids, barbershop cut, tattoo, hoodie, and other traditional dress styles place them in the immediate threat zone. When people outside of the Black community observe my paintings, I want them to try and imagine who the individual is while placing all preconceived notions and stereotypes aside. And when encountering Black youth, I hope they will consider, as when viewing the subject in my work, that the individual’s outward appearance is a positive form of self-expression.
For African Americans viewing my paintings, I want them to feel a sense of connectivity and pride—and discover a familiar face within, one that reminds them of themselves, a friend, or a family member.
My process when creating portraits is to collaborate with the sitter. I allow them to determine their pose and clothing, thus taking charge of their image. Often featured in my paintings are my friends and family members. But I also venture outside of that circle and deliberately select African Americans of varied skin colors to elevate and celebrate the diversity of skin tones within our race.
Jazz, 2024
oil on canvas
48 x 36 ″
Monica Ikegwu (b.1998, Baltimore, Maryland) is a figurative painter. Ikegwu earned a BFA from the Maryland Institute College of Art and an MFA from the New York Academy of Art.
In presenting the notion of the Black figure that is captivating and unconventional, Ikegwu uses color, fluid lines, and textured backgrounds to compose hyperrealist imagery. The concepts for her paintings stem from her surroundings, experiences, and encounters with people in Baltimore. The subjects presented in Ikegwu’s paintings are often her friends, siblings, and other family members from whom she draws her inspiration as she watches them progress through life.
Ikegwu is among the eight African American artists featured in the 2022 Venice Biennale exhibition The Afro-Futurist Manifesto: Blackness Reimagined, curated by Myrtis Bedolla of Galerie Myrtis. The exhibit explores the theme of Black life on the continuum of its imagined future presented in the Personal Structures art fair.
Ikegwu earned first place in the XL Catlin Art prize (2018), was a YoungArts Finalist (2017), a Gold medal winner in the NAACP ACT-SO National competition (2016), and a Scholastic silver medal portfolio winner (2016). Her work was exhibited at the XL Catlin Art Prize traveling exhibition and the Reginald F. Lewis Museum in 2018.
Photograph by Lia Latty
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Solo Exhibition featuring Wesley Clark
September 22 – October, 31, 2019
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Artist Statement
The exhibition, Reparations: Some Things are Just Owed, and Some More than Others, showcases a selection of objects created by a recently discovered artisanal-based company, Reparations & Co. Reparations & Co. (a.k.a. Rep & Co.) founded by Eugene & Morris, two Black men during the Reconstruction era, created functional, subversive, and empowering objects — some futuristic in thought and process. Not much is known about the craftsmen or the company, however, in recent years several objects have surfaced on the auction and secondary markets with the company’s logo, prompting research. As such, researchers discovered what is believed to be their shop in an overgrown, abandoned, dilapidated barn-like structure near Freetown, in Glen Burnie, MD. The collection found is vast and while remarkably well preserved, some objects were vandalized, prompting restoration efforts. On display in this exhibition viewers get a peek into the past through the minds of two craftsmen as they fuse economic empowerment, restoration of identity, and more into their functional and decorative objects; during a pivotal yet short-lived period of American history.
The fictitious narrative of Reparations & Co. is what drives many of the aesthetic choices; it is the vehicle used to create a dialogue on ideas of racial socialization — as described in Post Traumatic Slave Syndrome, by Dr. Joy DeGruy — as a means of expanding and internalizing the discussion of reparations to include what we as Black Americans owe ourselves.
“…the process whereby we come to know our strengths, understand the world in which we live, and position ourselves to thrive. Continual education is at the heart of racial socialization. For young children, education is the elder’s responsibility. For adults, the responsibility is our own. We have to remain vigilant and questioning. We have to continue to constantly endeavor to keep ourselves informed and our education current. We have to question the image we ourselves are portraying. We have to examine the sounds and pictures we expose ourselves to. We have to filter what we hear on the news and strive to understand what is true.“
– Joy DeGruy, Post Traumatic Slave Syndrome
watch Joy DeGruy lecture on Post Traumatic Slave Syndrome
Whether from present day or generational trauma, communal preparation and advancement are at the heart of this body of work. Under the umbrella of preparation, inwardly focused themes around mental health, family history and legacy, self-respect and dignity, leadership, rebuilding the Black economy and restoring relationships are touched on as a means of being solution-oriented. While there are outside influences discussed on the traditional theme of reparations, the focus remains inward. Two examples of such influences can be found when examining the works The Profiteers 1 & The Profiteers 2. The first recognizes existing companies operating in the US (though possibly under a new name) that profited from the enslavement of Africans. The second names corporations that have or still use prison labor and thereby support the growth of the prison industrial complex (i.e., Sprint, Verizon, Bank of America and Walmart). My intent is to think about self-respect, as well as building and supporting a Black economy, as each name listed represents an industry for the Blacks to build and compete in.
A large portion of my work considers aging, weathering, and/or antiquing objects driven by fictional narratives, which informs my aesthetic choices. Most often this process is about linking present day content to historical issues, or ideas around value. Objects that are salvaged and displayed are deemed to possess a certain value or esteem. I set the stage for that sense of value to be linked to contemporary socio-political or socio-economic issues and conversations. With this body of work, I’ve chosen to incorporate custom automotive high gloss paints — often used on “tricked out” or restored cars — as a contemporary reference to notions of value. These “candy” or “flip flop/color shifting” paints are typical for early/classic model cars souped up with big, fancy rims, chrome details, or engine/body modifications. These cars have been popularized by rap culture in particular and therefore are associated with money, fame, and all that comes with it — just as owning a certain antique furniture piece once were — hence speaks to a younger generation’s value system. Such paints were incorporated into the works, Restoring our Majesty, Wading in the Waters of Babylon, and The Tell-All Earbox: Model no. C3l3stial-4, as one of two visual elements — the other being “tagging”/graffiti writing — to fuse the temporal space between the antique lover and millennial mind.
I’m not concerned with the viewer engaging my personal narratives that drive the work. More often than not, they’re just for me and my process. Reparations & Co. marks the first time my working narrative has held an elemental position (in the form of a logo placed on a few works) and thus a larger more robust storyline has emerged. I work with fictitious narratives as a means of setting a stage for myself mentally — and every stage has its props and boundaries. Therefore I’m constantly questioning, “Does this idea/object fit within the boundaries of my stage and how?” The objects (props) I choose to create are often ubiquitous, even mundane items with slight hybridity-like aspects tossed in for good measure. For the viewer, it’s the objects’ familiarity — loaded with preconceived notions and understandings – that allow entryway. With that familiarity in place, the stage is set for viewers to explore the relationship with the “foreign” social and/or political elements incorporated into the work.
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I Look for You
Galerie Myrtis is pleased to offer I Look for You, a varied limited edition print by Delita Martin. Created in an edition of 25, the prints vary slightly as each has been hand sown by Martin. Included with the purchase of each print is a limited edition copy of Delita’s new book, Shadows in the Garden. Each book has been signed and numbered by Delita.
Varied Print Edition: 25 – Book Edition Size: 25
Price: Contact Gallery
Shadows In The Garden focuses on the work of Texas based artist Delita Martin. It highlights works from several exhibitions and works held in various collections. Contents include an introductory essay by artist and curator Vicki Meek. artist interview with Joshua Asante, Essays by Dr. Kheli R. Willetts and Gary Reece, and select bibliography. With full color reproductions of all works.
book preview
I Look For You, Relief Printing, Stibilo Pencil, Acrylic, Lithography, Liquid Gold Leaf, Decorative Papers, Fabric, Hand Stitching, 15 x 20
artwork | statement | bio | resume
photography | sculpture
