In the galleries: Landmark show lauds two iconic artists
Also: A multi-artist exhibit spans nearly a century of the Black experience in America; two artists deal with the war in Ukraine indirectly with personal and esoteric approaches.
No signs of war are evident in Jaroslav Leonets’s and Andrei Petrov’s recent work, but their paintings respond to Russia’s 2022 invasion of Ukraine. Leonets’s landscapes depict a land of rustic beauty, barely touched by mankind but achingly vulnerable. Petrov’s landscape-influenced abstractions refer to an earlier period in the region’s history, yet were sparked by the Russian onslaught.
Leonets is a Kyiv resident who began painting rural Ukrainian scenes before the full-blown war began. His Amy Kaslow Gallery show, “Documenting Landscapes: Ukraine’s Vanishing Terrain,” features nine impressionistic oils made between 2019 and 2022. They’re painted primarily with sunny hues, yet with areas deepened by shadow. The majority of them feature bodies of water alluringly splashed with reflected light.
Andrei Petrov’s “Fugitive Sun,” in his exhibit “Footprints in the Snow.” (Andrei Petrov/Morton Fine Art)
Similar highlights characterize most of the oils in Petrov’s Morton Fine Art show. But as indicated by the show’s title, “Footprints in the Snow,” the reflections play on white fields rather than blue lakes or rivers. Petrov is a D.C.-born New Yorker whose suite of pictures was inspired by his grandfather’s 1915 escape from a Siberian labor camp, a flight that took him to China and eventually the United States. Petrov is partly of Ukrainian heritage, and the Russian assault motivated him to revisit this chapter in his family history.
Both artists apply pigment thickly, but after that, their methods diverge. Leonets’s technique is as traditional as his imagery; clouds and cliffs alike are rendered with thick but loose gestures. Petrov applies layers of color that he then cracks and partly removes. Many of his pictures are defined by fissures that suggest the collision of tectonic plates. This signature move is visually striking, but also thematically suggestive: The fractures suggest breaks in the timeline or lives shattered by history. Where Leonets’s landscapes appear pretty but threatened, Petrov’s abstractions conjure centuries of ruin and loss.
Jaroslav Leonets: Documenting Landscapes: Ukraine’s Vanishing Terrain Through May 7 at Amy Kaslow Gallery, 7920 Norfolk Ave., Bethesda.
Andrei Petrov: Footprints in the Snow Through May 7 at Morton Fine Art, 52 O St. NW, No. 302.0Comments
The exhibition Ai Yo, by Chinese artist Jenny Wu at Morton Fine Art, is a seamless flow of composition, colour, control, and a chance at intersecting maths and art.
Morton Fine Art, an art gallery based in Washington DC, United States, is showcasing Chinese multimedia artist Jenny Wu’s sculptural paintings, rooted in her time-based practice, with the exhibition, Ai Yo! Displaying close to 20 new works by the artist, the exhibition underscores her engagement with latex print. Overriding ‘mastery’ with ‘discovery,’ the works act as sites to survey the nuances of composition, colour, control, and chance. For Wu, who is academically trained as an architect, conceptual ideas of construction and embodiment run deep, setting the tone for the final composition of her sculptural paintings. Consequently, what viewers witness in the exhibition are artworks that serve both as ‘built objects’ and ‘records of labour, gesture, accident,’ questioning the conventional framework of paintings and sculptures.
Briefly Inhabit a Fictional World, 2022, latex paint and resin on woodImage: Courtesy of Morton Fine Art and Jenny Wu
Each work is made with a silicon surface, over which Wu dispenses thick coats of latex paint. As soon as a layer of paint dries, the Chinese artist pours the next layer of latex. What we see, then, is a spectrum of colour that Wu breaks into small cuts, highlighting colourful cross-sections, often touched by chance elements like cracking. Furthermore, these cross-sections act as building blocks of relief. The final composition of wood panels is put together by these pieces. Interestingly, the play between ‘serendipity and planning’ removes hints of the original setting of paint, recontextualising it in a new form.
Hello to That One Person Who Nods Along Encouragingly During Presentations, 2022, latex paint and resin on wood panelImage: Courtesy of Morton Fine Art and Jenny Wu
Wu’s artistic practice is “underpinned by transformation and embodying time,” states a press release; in an interview with STIR, Wu elaborates on this, “The original format of the paint is liquid, but through the process of pouring, waiting, pouring again, waiting again, and then finally cutting and glueing, the paint is transformed into a solid form. What started as separate colours on different buckets, ends up having a conversation on these wood panels. Each time a layer of paint dries, it records time spent. The layers are not always the same thickness, and sometimes the paint cracks during drying or the next layer will steep through the previous one. All of those elements are on full display in the finished work.”
It’s Not Finished But I Am, 2022, latex paint and resin on wood panelImage: Courtesy of Morton Fine Art and Jenny Wu
The material, latex, has an inherent quality of being fragile, bound to throw challenges to visual artists who employ it as a key element. Wu confirms that in the early stages of her career as an artist, she found the crack extremely challenging, but gradually she learned to let the paint be—appreciating and embracing moments of imperfection. “I am also learning how different paint sheen, room temperature, and airflow can affect the cracking. Liquid latex paint might be fragile, but thick, dried latex paint is very dense and hard to cut by hand. My purlicue muscle has grown a lot on my right hand,” admits Wu.
Jenny WuImage: Courtesy of Morton Fine Art and Jenny Wu
Significantly, the titles of the sculptural paintings are central to the practice. Functioning as reflections of the methods Wu undertakes, to reorient the essentials of the material, for instance—Too Heavy to Carry to the British Museum; 70 Year Old Intern Waiting for His First Real Job; Hello to That One Person Who Nods Along Encouragingly During Presentations. Social networking sites such as Twitter, too, have been a source for the titles of the works. The humour and constructive value in the title of the art exhibition—Ai Yo! is unmissable. It carries regional expression and context, for the artist who hails from Nanjing in China, where the meaning of Ai Yo! is determined by a way of articulation, translating to anything between ‘impressed’ to ‘suspicious.’
Furthermore, when sculptural paintings are abstract and the titles are non-descriptive, Wu opines, “The idea that titles should create more space, and not point out the obvious, emerged a decade ago, when I bought house paint and came across paints named Va-Va Voom or Yeah Baby. The titles come from social media posts, usually comments on life in Washington D.C. at times having rings of academic or sometimes political. The titles function as a personal, minimal diary, emerging around the time I nearly finish a piece. Hello to That One Person Who Nods Along Encouragingly During Presentations is about appreciating that person and being that person for others.”
Jennny Wu at work
Video: Courtesy of Morton Fine Art and Jenny Wu
An artist and educator, Wu’s artistic practice is recognition of the ‘sensational and perceptual properties of materiality,’ only to recontextualise it in a new light to see the unseen. Wu is hopeful that the audience will see the intersections of maths and art while watching the sculptural paintings in the exhibition. Exploring patterns and moments of surprises within, experiencing the in-betweenness of painting and sculpture, exploring space from the physical work to its title, recalling the passing of time. “At the end of the day, I can have intentions and goals, but once you stand in front of the art, you are creating a new relationship between you and the work, and I can never be part of it,” shares Wu.
The exhibition Ai Yo! by Jenny Wu is on view at Morton Fine Art, Washington DC until March 8, 2023.
Writer and researcher, Dilpreet Bhullar shuttles between New Delhi and Mumbai, India. With an MPhil in Comparative Literature (University of Delhi), she has been the recipient of the Alliance for Historical Dialogue and Accountability Fellowship (Columbia University, New York) and International Centre For Advocates Against Discrimination Fellowship, New York. Her writings have appeared in Art Basel, Ocula, Routledge, criticalcollective.in, thirdtext.org, to name a few. Currently, she is the Editorial Manager of the magazine TAKE, which is dedicated to South Asian contemporary arts.
Seattle-based artist Lisa Myers Bulmash creates collages, assemblages, and altered books focusing on African American and female experiences. She writes that her works aim “to expand the classical practice of using an individual narrative to illuminate the general human condition. My hope is that my symbolic language creates a much-needed magic for the viewer — especially those who experience a daily sense of erasure or isolation.”
She is currently showing work from her “Not Geo”series at Morton Fine Art’s group exhibition Creating a New Whole, up through February 4, 2023.
Interview by Interlocutor Magazine
What initially attracted you to the art form of altered books? Was there a particular exhibit or artist working in the medium that catalyzed you to begin experimenting with it?
Being a longtime bookworm, I think my attraction sprang from a horrified fascination. Here was an object I’d been taught to treat with care, almost reverence – but someone had cut right through the cover! Pages were missing and rearranged! Then I realized the book was still telling a story but speaking in a different way.
What types of books do you focus on for alterations and why?
Sometimes I’m actually judging a book by its cover: does it have an interesting texture, design, or a title that catches my eye? They’re always hardcover books, usually smaller than the average coffee table book but larger than a paperback. The book needs to be sturdy enough to support whatever lightweight, three-dimensional objects I add to it, plus the hanging hardware on the back. (Most of my altered books are wall-mounted.) I also look for books that are no longer under copyright, just in case I salvage one of its illustrations or text for another project.
There Is No White Without Black – Altered book diptych (pair) – Free-standing objet d’art, 7.75 x 21.5 x 1.75 inches – Hand-carved niches; covers and text block (pages) sealed closed
Could you talk about your typical methods of book alteration and what elements of the book itself you often focus on to change? Does the book’s text directly come into play within the work (i.e., do you directly reassemble any textual elements)?
First, I flip through the book to see if there are any pages I want to cut out and save. Then I seal part or all of the page block. I use a utility knife to cut a hole in the front cover. Then I cut into the page block, using my fingers to tear a rough niche down into the page block. The niche acts as a focusing device for the image or images I insert into the book.
It’s actually pretty rare for me to reassemble the textual elements of the original book into the resulting artwork, unless there’s a chapter title or phrase that stands out for some reason. I once altered a copy of Robinson Crusoe, thinking that the adventure story associations would make interesting commentary on an image of two little Black boys in the hand-torn niche. The kids would hover just behind a chapter title of “I have a terrible dream.”
The thing is, when you’re working with material this old (the novel was first published in 1719), there’s bound to be some casual racism and colonialism in the text. I pulled out text that read, “he set my foot upon his head,” a clear description of Friday’s submission to Crusoe. Added to the “terrible dream” text and the Black boys, the piece then became about anti-Black violence.
Bought & Paid For #1-triptych (trio) of altered books, mounted upon antique washboards – Hand-torn niches framed with rope – 24 x 13 x 2 inches
You’ve written, “as a visual artist, I am obsessed with joining elements that seem to have no relationship to each other.” What do you think the origins of this obsession are, and what do you believe is the most potent aspect of joining disparate elements?
The cognitive clash between two unrelated elements is exciting and often amusing – when a potential combination makes me cackle with delight, I know I’m onto something worth exploring. I couldn’t say exactly what the origins of the obsession are. But I believe the most potent aspect of joining disparate elements, as you say, is the feeling that I’ve manipulated the materials in a way that compels them to give up some sort of hidden meaning or potential.
TODAY, America. Today. Collage on hardback book cover – Wall-hanging objet d’art – 16.5 x 18.5 x 1.5 inchesThe Mountain – Original collage on Fabriano Artistico watercolor paper – 100% cotton paper: hot-pressed (smooth surface) and acid-free – 12 x 9 inches unframed
You are a part of the group show Creating a New Whole at Morton Fine Art, where works from your “Not Geo” series are offered. Could you discuss this series and how it aims to subvert National Geographic’s problematic depictions of Africans and non-Western people?
As humans, we still have a tendency to think if something’s written down (and illustrated, bound into a magazine and delivered to our doorstep), then it must be at least partly true. I think that holds true in virtual spaces too, even though an algorithm is producing content tailored to our own biases and interests.
The “Not Geo” series pushes back against taking things at face value, and the kind of categorization that harms Black people and others of color. The old illustrations were meant to be pseudo-scientific depictions of human “types” separated by racial boundaries. It indicates a certain inflexibility of thought, a hardness matched by the harshness that people of African descent have often had to endure. I wanted to counter that with the delicacy of lace paper and irregular patterns in marbled paper. It’s my way of supporting the radical notion that Black people, especially women, should be treated with justice, empathy, and a certain softness that the world rarely extends to us.
Not Geo – Girl, 2022, ink, hand-marbled and rice paper collage on watercolor paper, 12 x 9 inNot Geo – Woman, 2022, ink, hand-marbled and rice paper collage on watercolor paper, 12 x 9 inNot Geo – Crossed Arms, 2022, ink, hand-marbled and rice paper collage on watercolor paper, 12 x 9 in
Morton Fine Art is pleased to announce Creating a New Whole, a group exhibition of collage artwork by Michael Andrew Booker, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Lisa Myers Bulmash, Amber Robles-Gordon and Prina Shah. Ranging in techniques, approaches and materials—from quilting, tapestry, fabric, paint and appropriated mass media—the artists in Creating a New Whole exemplify collage’s invitation to what Myers Bulmash has recognized as “a process of purposefully taking things out of context.” Constructing new contexts, forms and wholes, these artists’ practices are frequently as generative as much as they are reparative, seeking to draw connections to what was absent or ignored in their elements’ original context(s). Creating a New Whole, will be on view from January 4 to February 4, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).
Continuing quilting techniques practiced by their respective ancestors, Booker, Chirrime, Gardner and Shah work with resonant materials that speak to the past while enabling the past to speak to the present. Kenya-based, Shah’s personally charged materials include paper, saree, bindis and block printing which she vividly combines using textures, colors and forms, the sum total creating new narratives and perspectives for her inner voice. DC-based Booker is influenced by the coded and colorful history of quilts, referencing them as sign markers, shields, portals and gateways to help secure safe passage to a parallel utopic, afro-futuristic community, what the artist has called “Afrotopia.” Intensely layering marks of fineliner pen, color pencil, collage and fabric, Booker conjures complex, multidimensional figurative works, his figures and forms cohereing together out of countless small acts.
Mozambican artist Chirrime sources scrap materials from her environment and immediate communities, using fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition. Slicing and collaging Western printed media, Trinidad and Tobago-based Gardner appropriates both content and practice, “creating false images and out-of-context narratives” that ironically and seductively mirror the Western world’s misrepresentation of people of color. Likewise taking a critical, redemptive eye to Western mass media, Myers Bulmash’s “Not Geo” series, a cutting play on National Geographic’s nickname, seeks to rehabilitate and restore to dignity the publication’s now notorious rendering of Africans and other non-Western people.
Overall, a sense of construction charges the works in Creating a New Whole, whether that be the notion of renovating the present and past or extending out of the frame into sculptural dimensions. The latter can be seen in the sculptural geometric-like works of Robles-Gordon (pieces the artist recognizes as “temples, places of spiritual practice” and which reference her larger textile installations) and Kuroo, inspired by the tradition of origami in his native Japan, whose thickly layered applications of paint and canvas exist on the boundary between painting and three-dimensional art.
Abidingly constructive in spite of their rigorous interventions, the works in Creating a New Whole end up with more than they started with as a matter of process.
Prina Shah, Unlock and Awaken, 2022, 25″x25″, paper, saree, bindis, block printing and acrylic on canvas
Opening Reception: Saturday, January 14 from 2pm to 4pm
Morton Fine Art is pleased to announce Creating a New Whole, a group exhibition of collage artwork by Michael Andrew Booker, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Lisa Myers Bulmash, Amber Robles-Gordon and Prina Shah. Ranging in techniques, approaches and materials—from quilting, tapestry, fabric, paint and appropriated mass media—the artists in Creating a New Whole exemplify collage’s invitation to what Myers Bulmash has recognized as “a process of purposefully taking things out of context.” Constructing new contexts, forms and wholes, these artists’ practices are frequently as generative as much as they are reparative, seeking to draw connections to what was absent or ignored in their elements’ original context(s). Creating a New Whole, will be on view from January 4 to February 4, 2023 at Morton’s Washington, DC space (52 O St NW #302).
Collage Artwork by Michael Andrew Booker, Lisa Myers Bulmash, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Amber Robles-Gordon & Prina Shah
About Creating a New Whole
Continuing quilting techniques practiced by their respective ancestors, Booker, Chirrime, Gardner and Shah work with resonant materials that speak to the past while enabling the past to speak to the present. Kenya-based, Shah’s personally charged materials include paper, saree, bindis and block printing which she vividly combines using textures, colors and forms, the sum total creating new narratives and perspectives for her inner voice. DC-based Booker is influenced by the coded and colorful history of quilts, referencing them as sign markers, shields, portals and gateways to help secure safe passage to a parallel utopic, afro-futuristic community, what the artist has called “Afrotopia.” Intensely layering marks of fineliner pen, color pencil, collage and fabric, Booker conjures complex, multidimensional figurative works, his figures and forms cohereing together out of countless small acts.
Mozambican artist Chirrime sources scrap materials from her environment and immediate communities, using fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition. Slicing and collaging Western printed media, Trinidad and Tobago-based Gardner appropriates both content and practice, “creating false images and out-of-context narratives” that ironically and seductively mirror the Western world’s misrepresentation of people of color. Likewise taking a critical, redemptive eye to Western mass media, Myers Bulmash’s “Not Geo” series, a cutting play on National Geographic’s nickname, seeks to rehabilitate and restore to dignity the publication’s now notorious rendering of Africans and other non-Western people.
Overall, a sense of construction charges the works in Creating a New Whole, whether that be the notion of renovating the present and past or extending out of the frame into sculptural dimensions. The latter can be seen in the sculptural geometric-like works of Robles-Gordon (pieces the artist recognizes as “temples, places of spiritual practice” and which reference her larger textile installations) and Kuroo, inspired by the tradition of origami in his native Japan, whose thickly layered applications of paint and canvas exist on the boundary between painting and three-dimensional art.
Abidingly constructive in spite of their rigorous interventions, the works in Creating a New Whole end up with more than they started with as a matter of process.
About MICHAEL ANDREW BOOKER Michael Andrew Booker (b. USA) is a mixed media artist originally from Jackson, Mississippi who currently resides in Maryland. He received his BFA in Studio Art – Painting from Mississippi State University in 2008, and received his MFA in Studio Art from University of Maryland in 2012. He has exhibited in various galleries across Mississippi, Alabama, North Carolina, Maine, Maryland, Virginia and Washington DC. His work has been acquired by the David C. Driskell Center in College Park, MD. Currently, he is an Assistant Professor of Art at Montgomery College Takoma Park/Silver Spring.
Booker has been represented by Morton Fine Art in Washington, DC since 2019.
About LISA MYERS BULMASH Lisa Myers Bulmash (b. USA) is a collage and book artist who works primarily in acrylics, paper and found objects. Informally trained, Myers Bulmash began her career making handmade cards. After her father’s death in 2006, the artist felt compelled to take more personal risks in her creative life. Questions of identity, trust and the imperfect memory now drive most of her work. The artist aims to nudge the viewer into recognizing our shared stories, especially those narratives that are usually experienced in isolation.
Myers Bulmash exhibits her work in group and solo shows throughout the Seattle metro area. She has been represented by Morton Fine Art since 2020.
About LIZETTE CHIRRIME Lizette Chirrime (b. Mozambique) creates intricate fabric collages on canvas that are at once celebratory and soul-stirring, as the artist flirts between figuration and abstraction to develop a unique—and distinctly African—visual language. Stitching together printed fabrics, beads, and other familiar objects in Southern Africa, Chirrime transforms simple materials into autobiographical and narrative tableaux freighted with deeply felt emotion and patterns of meaning. Many of her collages center maternal figures and stories of African motherhood, honoring their millennia-long legacy of strength and grace and positing their representation as a symbolic device.
After receiving a three-month residency at Greatmore Studios in Cape Town in 2005, Chirrime spent the next 16 years of her practice in South Africa. In 2021, she made a return to her home country of Mozambique, where she now lives and continues to create.
She has been represented by Morton Fine Art since 2021.
About GA Gardner GA Gardner (b. Republic of Trinidad and Tobago) uses print media content to create an intimate viewpoint of his intercultural experience. Through the lens of his Caribbean heritage, he dissects, covers up, reveals, layers, and re-contextualizes the material in the print publications he uses, to construct pieces that specifically discuss issues of politics, race, culture, and identity.
The publications are a natural fit for Gardner, as they offer random vibrant color palettes, much like that of a typical Caribbean environment, and a great mixture of text and professionally photographed images. However the colors are universal and allow a conceptual approach to finding the common ground among all cultures. The artist combines these media depictions and information with natural paper and synthetic materials to aid in his message. By deconstructing the images into strips, or bits of torn paper, and assigning new overlays of unifying colors to the materials, Gardner erodes the original content at various levels often reducing them to shades with traces of random colors. The image that was once a bold headline new banner, or the newest eye catching product now struggles to be seen; muted, it now plays a secondary role to layers of paint and other mediums. The resulting serendipitous visual construction is an unsystematic reconfiguration and re-purposing to discuss culture, heritage and the symbolism of color.
He has been represented by Morton Fine Art since 2012.
About HIROMITSU KUROO Hiromitsu Kuroo (b. Japan) is a Japanese collage painter working in the tradition of origami. In his work, the canvas serves as the paper, and the gentle manipulation of its surface conveys intricate textural landscapes. The multiple layers of colors in his folded canvases are revealed by sanding the canvas surface. Interested in the juxtaposition and vitality of collaged pieces of canvas, he uses them to accentuate other emerging shapes in his compositions.
Kuroo earned both a BFA and MFA from Tohoku University of Art & Design and has had solo exhibitions at the New York based Tenri Cultural Institute, Gloria Kennedy Gallery, MIKIMOTO NY, Makari and Bronx Community College, as well as the Tokyo-based Gallery Yamaguchi and G-Art Gallery. He was awarded Pollock-Krasner Foundation Grants in 2010 and 2019, Adolph & Esther Gottlieb Foundation Grant in 2022 and the artist residency program for The Golden Foundation in 2019. In 2020, he was interviewed for Forbes Magazine. He has been represented by Morton Fine Art since 2022.
About AMBER ROBLES-GORDON Amber Robles-Gordon (b. Puerto Rico) completed her Masters of Fine Arts from Howard University in November 2011, where she has received annual awards and accolades for her artwork. Her exhibitions and artwork has been reviewed and/or featured in many esteemed publications including the Washington Post, the Miami Herald, Huffington Post and Callaloo Art & Culture in the African Diaspora.
Robles-Gordon was commissioned to create temporary and permanent public art installations for numerous art fairs and agencies such as the DC Commission on the Arts and Humanities, DCCAH; Northern Virginia Fine Arts Association (NVFAA); Humanities Council of Washington, D.C.; Howard University, James C. Porter Colloquium; Schomburg Center for Research in Black Culture; the Washington Projects for the Arts; Salisbury University; Martha’s Table; DC Department of General Services and Democracy Fund.
Additionally, she has been commissioned to teach workshops, give commentary and present about her artwork by the Smithsonian Anacostia Museum; Luther College; WETA Television; Al Jazeera; WPFW 89.3 fm; WAMU | American University Radio; The Kojo Nnamdi Show; Howard University, James A. Porter Colloquium; David C. Driskell Center; the Phillips Collection; the African American Museum in Philadelphia; McDaniel College; Salisbury University; Harvey B. Gantt Center; American University and National Museum of African American History and Culture. Her solo exhibition, Successions: Traversing US Colonialism, curated by Larry Ossei-Mensah, was hosted by the American University Museum at the Katzen Arts Center in 2021. She has been represented by Morton Fine Art since 2016.
About PRINA SHAH Prina Shah (b. Kenya) is a contemporary artist currently living in Nairobi, Kenya. Born in Kenya to Indian parents, Shah also grew up partially in the U.K.; her artistic work embraces the indeterminacy of her national identity, including a fascination with the formation of selfhood as it relates to a specific cultural context. In a creative practice spanning mixed media—including sculpture, painting, glasswork and less traditional materials such as human hair—Shah’s art challenges the notions of individualized identity within a communal whole. Shah uses meditation as the impetus and foundation of her work, drawing the viewer into a personal narrative and inviting the participant to share in her visual journey of interconnection as she explores what it means to be one among many.
Shah’s work has been included in numerous national and international exhibitions and has been acquired by the permanent collections of Finland’s Poikilo Kouvola Art Museum and the I&M Bank Collective in Kenya, as well as numerous private collections. She has been represented by Morton Fine Art since 2022.
About Morton Fine Art Founded in 2010 in Washington, DC by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.
Morton Fine Art founded the trademark *a pop-up project in 2010. *a pop-up project is MFA’s mobile gallery component which hosts temporary curated exhibitions nationally.
GA Gardner. So You, 2014. 42 x 65 in. Mixed media on mylar.
WASHINGTON, DC.-Morton Fine Art is presenting Creating a New Whole, a group exhibition of collage artwork by Michael Andrew Booker, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Lisa Myers Bulmash, Amber Robles-Gordon and Prina Shah. Ranging in techniques, approaches and materials—from quilting, tapestry, fabric, paint and appropriated mass media—the artists in Creating a New Whole exemplify collage’s invitation to what Myers Bulmash has recognized as “a process of purposefully taking things out of context.” Constructing new contexts, forms and wholes, these artists’ practices are frequently as generative as much as they are reparative, seeking to draw connections to what was absent or ignored in their elements’ original context(s). Creating a New Whole, will be on view until February 4, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).
Continuing quilting techniques practiced by their respective ancestors, Booker, Chirrime, Gardner and Shah work with resonant materials that speak to the past while enabling the past to speak to the present. Kenya-based, Shah’s personally charged materials include paper, saree, bindis and block printing which she vividly combines using textures, colors and forms, the sum total creating new narratives and perspectives for her inner voice. DC-based Booker is influenced by the coded and colorful history of quilts, referencing them as sign markers, shields, portals and gateways to help secure safe passage to a parallel utopic, afro-futuristic community, what the artist has called “Afrotopia.” Intensely layering marks of fineliner pen, color pencil, collage and fabric, Booker conjures complex, multidimensional figurative works, his figures and forms cohereing together out of countless small acts.
Mozambican artist Chirrime sources scrap materials from her environment and immediate communities, using fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition. Slicing and collaging Western printed media, Trinidad and Tobago-based Gardner appropriates both content and practice, “creating false images and out-of-context narratives” that ironically and seductively mirror the Western world’s misrepresentation of people of color. Likewise taking a critical, redemptive eye to Western mass media, Myers Bulmash’s “Not Geo” series, a cutting play on National Geographic’s nickname, seeks to rehabilitate and restore to dignity the publication’s now notorious rendering of Africans and other non-Western people.
Overall, a sense of construction charges the works in Creating a New Whole, whether that be the notion of renovating the present and past or extending out of the frame into sculptural dimensions. The latter can be seen in the sculptural geometric-like works of Robles-Gordon (pieces the artist recognizes as “temples, places of spiritual practice” and which reference her larger textile installations) and Kuroo, inspired by the tradition of origami in his native Japan, whose thickly layered applications of paint and canvas exist on the boundary between painting and three-dimensional art.
Abidingly constructive in spite of their rigorous interventions, the works in Creating a New Whole end up with more than they started with as a matter of process.
Michael Andrew Booker (b. USA) is a mixed media artist originally from Jackson, Mississippi who currently resides in Maryland. He received his BFA in Studio Art – Painting from Mississippi State University in 2008, and received his MFA in Studio Art from University of Maryland in 2012. He has exhibited in various galleries across Mississippi, Alabama, North Carolina, Maine, Maryland, Virginia and Washington DC. His work has been acquired by the David C. Driskell Center in College Park, MD. Currently, he is an Assistant Professor of Art at Montgomery College Takoma Park/Silver Spring.Booker has been represented by Morton Fine Art in Washington, DC since 2019.
Lisa Myers Bulmash (b. USA) is a collage and book artist who works primarily in acrylics, paper and found objects. Informally trained, Myers Bulmash began her career making handmade cards. After her father’s death in 2006, the artist felt compelled to take more personal risks in her creative life. Questions of identity, trust and the imperfect memory now drive most of her work. The artist aims to nudge the viewer into recognizing our shared stories, especially those narratives that are usually experienced in isolation.Myers Bulmash exhibits her work in group and solo shows throughout the Seattle metro area. On the East Coast, Myers Bulmash has been represented by Morton Fine Art Gallery in Washington, DC since 2020.
Lizette Chirrime (b. Mozambique) creates intricate fabric collages on canvas that are at once celebratory and soul-stirring, as the artist flirts between figuration and abstraction to develop a unique—and distinctly African—visual language. Stitching together printed fabrics, beads, and other familiar objects in Southern Africa, Chirrime transforms simple materials into autobiographical and narrative tableaux freighted with deeply felt emotion and patterns of meaning. Many of her collages center maternal figures and stories of African motherhood, honoring their millennia-long legacy of strength and grace and positing their representation as a symbolic device.After receiving a three-month residency at Greatmore Studios in Cape Town in 2005, Chirrime spent the next 16 years of her practice in South Africa. In 2021, she made a return to her home country of Mozambique, where she now lives and continues to create.She has been represented by Morton Fine Art since 2021.
GA Gardner (b. 1969, Republic of Trinidad and Tobago) uses print media content to create an intimate viewpoint of his intercultural experience. Through the lens of his Caribbean heritage, he dissects, covers up, reveals, layers, and re-contextualizes the material in the print publications he uses, to construct pieces that specifically discuss issues of politics, race, culture, and identity.The publications are a natural fit for Gardner, as they offer random vibrant color palettes, much like that of a typical Caribbean environment, and a great mixture of text and professionally photographed images. However the colors are universal and allow a conceptual approach to finding the common ground among all cultures. The artist combines these media depictions and information with natural paper and synthetic materials to aid in his message. By deconstructing the images into strips, or bits of torn paper, and assigning new overlays of unifying colors to the materials, Gardner erodes the original content at various levels often reducing them to shades with traces of random colors. The image that was once a bold headline new banner, or the newest eye catching product now struggles to be seen; muted, it now plays a secondary role to layers of paint and other mediums. The resulting serendipitous visual construction is an unsystematic reconfiguration and re-purposing to discuss culture, heritage and the symbolism of color.He has been represented by Morton Fine Art since 2012.
Hiromitsu Kuroo (b. Japan) is a Japanese collage painter working in the tradition of origami. In his work, the canvas serves as the paper, and the gentle manipulation of its surface conveys intricate textural landscapes. The multiple layers of colors in his folded canvases are revealed by sanding the canvas surface. Interested in the juxtaposition and vitality of collaged pieces of canvas, he uses them to accentuate other emerging shapes in his compositions.Kuroo earned both a BFA and MFA from Tohoku University of Art & Design and has had solo exhibitions at the New York based Tenri Cultural Institute, Gloria Kennedy Gallery, MIKIMOTO NY, Makari and Bronx Community College, as well as the Tokyo-based Gallery Yamaguchi and G-Art Gallery. He was awarded Pollock-Krasner Foundation Grants in 2010 and 2019, Adolph & Esther Gottlieb Foundation Grant in 2022 and the artist residency program for The Golden Foundation in 2019. In 2020, he was interviewed for Forbes Magazine. He has been represented by Morton Fine Art since 2022.
Amber Robles-Gordon (b. Puerto Rico) completed her Masters of Fine Arts from Howard University in November 2011, where she has received annual awards and accolades for her artwork. Her exhibitions and artwork has been reviewed and/or featured in many esteemed publications including the Washington Post, the Miami Herald, Huffington Post and Callaloo Art & Culture in the African Diaspora.Robles-Gordon was commissioned to create temporary and permanent public art installations for numerous art fairs and agencies such as the DC Commission on the Arts and Humanities, DCCAH; Northern Virginia Fine Arts Association (NVFAA); Humanities Council of Washington, D.C.; Howard University, James C. Porter Colloquium; Schomburg Center for Research in Black Culture; the Washington Projects for the Arts; Salisbury University; Martha’s Table; DC Department of General Services and Democracy Fund.Additionally, she has been commissioned to teach workshops, give commentary and present about her artwork by the Smithsonian Anacostia Museum; Luther College; WETA Television; Al Jazeera; WPFW 89.3 fm; WAMU | American University Radio; The Kojo Nnamdi Show; Howard University, James A. Porter Colloquium; David C. Driskell Center; the Phillips Collection; the African American Museum in Philadelphia; McDaniel College; Salisbury University; Harvey B. Gantt Center; American University and National Museum of African American History and Culture. Her solo exhibition, Successions: Traversing US Colonialism, curated by Larry Ossei-Mensah, was hosted by the American University Museum at the Katzen Arts Center in 2021. She has been represented by Morton Fine Art since 2016.
Prina Shah (b. 1973, Kenya) is a contemporary artist currently living in Nairobi, Kenya. Born in Kenya to Indian parents, Shah also grew up partially in the U.K.; her artistic work embraces the indeterminacy of her national identity, including a fascination with the formation of selfhood as it relates to a specific cultural context. In a creative practice spanning mixed media—including sculpture, painting, glasswork and less traditional materials such as human hair—Shah’s art challenges the notions of individualized identity within a communal whole. Shah uses meditation as the impetus and foundation of her work, drawing the viewer into a personal narrative and inviting the participant to share in her visual journey of interconnection as she explores what it means to be one among many.Shah’s work has been included in numerous national and international exhibitions and has been acquired by the permanent collections of Finland’s Poikilo Kouvola Art Museum and the I&M Bank Collective in Kenya, as well as numerous private collections. She has been represented by Morton Fine Art since 2022.
Creating A New Whole: A Group Exhibition of Collage Artwork Featuring Michael Andrew Booker, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Lisa Myers Bulmash, Amber Robles-Gordon and Prina Shah. Morton Fine Art January 4 to February 4, 2023 Morton’s Washington D.C. space (52 O St NW #302)
Morton Fine Art is pleased to announce Creating a New Whole, a group exhibition of collage artwork by Michael Andrew Booker, Lizette Chirrime, GA Gardner,Hiromitsu Kuroo, Lisa Myers Bulmash, Amber Robles-Gordon and Prina Shah. Ranging in techniques, approaches and materials—from quilting, tapestry, fabric, paint and appropriated mass media—the artists in Creating a New Whole exemplify collage’s invitation to what Myers Bulmash has recognized as “a process of purposefully taking things out of context.”
Constructing new contexts, forms and wholes, these artists’ practices are frequently as generative as much as they are reparative, seeking to draw connections to what was absent or ignored in their elements’ original context(s). Creating a New Whole, will be on view from January 4 to February 4, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).
Prina Shah Untitled, 2022 25 x 25 in.Paper, sarees, bindis, block printing and acrylic on canvas
Continuing quilting techniques practiced by their respective ancestors, Booker, Chirrime, Gardner and Shah work with resonant materials that speak to the past while enabling the past to speak to the present. Kenya-based, Shah’s personally charged materials include paper, saree, bindis and block printing which she vividly combines using textures, colors and forms, the sum total creating new narratives and perspectives for her inner voice.
DC-based Booker is influenced by the coded and colorful history of quilts, referencing them as sign markers, shields, portals and gateways to help secure safe passage to a parallel utopic, afro-futuristic community, what the artist has called “Afrotopia.” Intensely layering marks of fineliner pen, color pencil, collage and fabric, Booker conjures complex, multidimensional figurative works, his figures and forms cohereing together out of countless small acts.
Mozambican artist Chirrime sources scrap materials from her environment and immediate communities, using fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition.
Slicing and collaging Western printed media, Trinidad and Tobago-based Gardner appropriates both content and practice, “creating false images and out-of-context narratives” that ironically and seductively mirror the Western world’s misrepresentation of people of color. Likewise taking a critical, redemptive eye to Western mass media, Myers Bulmash’s “Not Geo” series, a cutting play on National Geographic’s nickname, seeks to rehabilitate and restore to dignity the publication’s now notorious rendering of Africans and other non-Western people.
Lizette Chirrime The Boy Who Stopped the Snake, 2014 58 x 50 in. Fabric collage
Overall, a sense of construction charges the works in Creating a New Whole, whether that be the notion of renovating the present and past or extending out of the frame into sculptural dimensions. The latter can be seen in the sculptural geometric-like works of Robles-Gordon (pieces the artist recognizes as “temples, places of spiritual practice” and which reference her larger textile installations) and Kuroo, inspired by the tradition of origami in his native Japan, whose thickly layered applications of paint and canvas exist on the boundary between painting and three-dimensional art.
Abidingly constructive in spite of their rigorous interventions, the works in Creating a New Whole end up with more than they started with as a matter of process.
Exhibition opening : Saturday, January 14, 2023 from 2-4pm. Several artists will be in attendance. RSVP to info@mortonfineart.com
Morton Fine Art is pleased to announce Creating a New Whole, a group exhibition of collage artwork by Michael Andrew Booker, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Lisa Myers Bulmash, Amber Robles-Gordon and Prina Shah. Ranging in techniques, approaches and materials—from quilting, tapestry, fabric, paint and appropriated mass media—the artists in Creating a New Whole exemplify collage’s invitation to what Myers Bulmash has recognized as “a process of purposefully taking things out of context.” Constructing new contexts, forms and wholes, these artists’ practices are frequently as generative as much as they are reparative, seeking to draw connections to what was absent or ignored in their elements’ original context(s). Creating a New Whole, will be on view from January 4 to February 4, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).
Continuing quilting techniques practiced by their respective ancestors, Booker, Chirrime, Gardner and Shah work with resonant materials that speak to the past while enabling the past to speak to the present. Kenya-based, Shah’s personally charged materials include paper, saree, bindis and block printing which she vividly combines using textures, colors and forms, the sum total creating new narratives and perspectives for her inner voice. DC-based Booker is influenced by the coded and colorful history of quilts, referencing them as sign markers, shields, portals and gateways to help secure safe passage to a parallel utopic, afro-futuristic community, what the artist has called “Afrotopia.” Intensely layering marks of fineliner pen, color pencil, collage and fabric, Booker conjures complex, multidimensional figurative works, his figures and forms cohereing together out of countless small acts.
Mozambican artist Chirrime sources scrap materials from her environment and immediate communities, using fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition. Slicing and collaging Western printed media, Trinidad and Tobago-based Gardner appropriates both content and practice, “creating false images and out-of-context narratives” that ironically and seductively mirror the Western world’s misrepresentation of people of color. Likewise taking a critical, redemptive eye to Western mass media, Myers Bulmash’s “Not Geo” series, a cutting play on National Geographic’s nickname, seeks to rehabilitate and restore to dignity the publication’s now notorious rendering of Africans and other non-Western people.
Overall, a sense of construction charges the works in Creating a New Whole, whether that be the notion of renovating the present and past or extending out of the frame into sculptural dimensions. The latter can be seen in the sculptural geometric-like works of Robles-Gordon (pieces the artist recognizes as “temples, places of spiritual practice” and which reference her larger textile installations) and Kuroo, inspired by the tradition of origami in his native Japan, whose thickly layered applications of paint and canvas exist on the boundary between painting and three-dimensional art.
Abidingly constructive in spite of their rigorous interventions, the works in Creating a New Whole end up with more than they started with as a matter of process.LEARN MORE
A Group Exhibition of Collage Artwork by Michael Andrew Booker, Lisa Myers Bulmash, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Amber Robles-Gordon and Prina Shah
Washington, D.C. – Morton Fine Art is pleased to announce Creating a New Whole, a group exhibition of collage artwork by Michael Andrew Booker, Lizette Chirrime, GA Gardner, Hiromitsu Kuroo, Lisa Myers Bulmash, Amber Robles-Gordon and Prina Shah. Ranging in techniques, approaches and materials—from quilting, tapestry, fabric, paint and appropriated mass media—the artists in Creating a New Whole exemplify collage’s invitation to what Myers Bulmash has recognized as “a process of purposefully taking things out of context.” Constructing new contexts, forms and wholes, these artists’ practices are frequently as generative as much as they are reparative, seeking to draw connections to what was absent or ignored in their elements’ original context(s). Creating a New Whole, will be on view from January 4 to February 4, 2023 at Morton’s Washington, D.C. space (52 O St NW #302).
Amber Robles-Gordon , The Temples of My Familiars: Identity Totem, 2019 23 x 17 in. Mixed media collage and found objects on canvas
Continuing quilting techniques practiced by their respective ancestors, Booker, Chirrime, Gardner and Shah work with resonant materials that speak to the past while enabling the past to speak to the present. Kenya-based, Shah’s personally charged materials include paper, saree, bindis and block printing which she vividly combines using textures, colors and forms, the sum total creating new narratives and perspectives for her inner voice. DC-based Booker is influenced by the coded and colorful history of quilts, referencing them as sign markers, shields, portals and gateways to help secure safe passage to a parallel utopic, afro-futuristic community, what the artist has called “Afrotopia.” Intensely layering marks of fineliner pen, color pencil, collage and fabric, Booker conjures complex, multidimensional figurative works, his figures and forms cohereing together out of countless small acts.
Mozambican artist Chirrime sources scrap materials from her environment and immediate communities, using fabric, burlap, rope, paint, beads, leather and more to produce dynamic collages that speak to African womanhood, and more broadly, the human condition. Slicing and collaging Western printed media, Trinidad and Tobago-based Gardner appropriates both content and practice, “creating false images and out-of-context narratives” that ironically and seductively mirror the Western world’s misrepresentation of people of color. Likewise taking a critical, redemptive eye to Western mass media, Myers Bulmash’s “Not Geo” series, a cutting play on National Geographic’s nickname, seeks to rehabilitate and restore to dignity the publication’s now notorious rendering of Africans and other non-Western people.
Lisa Myers Bulmash, Not Geo – Sitting Man, 2021 12 x 9 in. Ink, hand-marbled and rice paper collage on watercolor paper
Overall, a sense of construction charges the works in Creating a New Whole, whether that be the notion of renovating the present and past or extending out of the frame into sculptural dimensions. The latter can be seen in the sculptural geometric-like works of Robles-Gordon
(pieces the artist recognizes as “temples, places of spiritual practice” and which reference her larger textile installations) and Kuroo, inspired by the tradition of origami in his native Japan, whose thickly layered applications of paint and canvas exist on the boundary between painting and three-dimensional art.
Abidingly constructive in spite of their rigorous interventions, the works in Creating a New Whole end up with more than they started with as a matter of process.
Lizette Chirrime, Synchronization in the Blood, 2022 38.50 x 60.50 in. Fabric and mixed media stitched on canvas
Morton Fine Art
Founded in 2010 in Washington D.C. by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.
Michael Andrew Booker (b. USA) is a mixed media artist originally from Jackson, Mississippi who currently resides in Maryland. He received his BFA in Studio Art – Painting from Mississippi State University in 2008, and received his MFA in Studio Art from University of Maryland in 2012. He has exhibited in various galleries across Mississippi, Alabama, North Carolina, Maine, Maryland, Virginia and Washington DC. His work has been acquired by the David C. Driskell Center in College Park, MD. Currently, he is an Assistant Professor of Art at Montgomery College Takoma Park/Silver Spring.
Booker has been represented by Morton Fine Art in Washington, DC since 2019.
Lisa Myers Bulmash (b. USA) is a collage and book artist who works primarily in acrylics, paper and found objects. Informally trained, Myers Bulmash began her career making handmade cards. After her father’s death in 2006, the artist felt compelled to take more personal risks in her creative life. Questions of identity, trust and the imperfect memory now drive most of her work.
The artist aims to nudge the viewer into recognizing our shared stories, especially those narratives that are usually experienced in isolation.
Myers Bulmash exhibits her work in group and solo shows throughout the Seattle metro area. On the East Coast, Myers Bulmash has been represented by Morton Fine Art Gallery in Washington, DC since 2020.
Lizette Chirrime (b. Mozambique) creates intricate fabric collages on canvas that are at once celebratory and soul-stirring, as the artist flirts between figuration and abstraction to develop a
unique—and distinctly African—visual language. Stitching together printed fabrics, beads, and other familiar objects in Southern Africa, Chirrime transforms simple materials into autobiographical and narrative tableaux freighted with deeply felt emotion and patterns of meaning. Many of her collages center maternal figures and stories of African motherhood, honoring their millennia-long legacy of strength and grace and positing their representation as a symbolic device.
After receiving a three-month residency at Greatmore Studios in Cape Town in 2005, Chirrime spent the next 16 years of her practice in South Africa. In 2021, she made a return to her home country of Mozambique, where she now lives and continues to create.
She has been represented by Morton Fine Art since 2021.
GA Gardner (b. 1969, Republic of Trinidad and Tobago) uses print media content to create an intimate viewpoint of his intercultural experience. Through the lens of his Caribbean heritage, he dissects, covers up, reveals, layers, and re-contextualizes the material in the print publications he uses, to construct pieces that specifically discuss issues of politics, race, culture, and identity.
The publications are a natural fit for Gardner, as they offer random vibrant color palettes, much like that of a typical Caribbean environment, and a great mixture of text and professionally photographed images. However the colors are universal and allow a conceptual approach to finding the common ground among all cultures. The artist combines these media depictions and information with natural paper and synthetic materials to aid in his message. By deconstructing the images into strips, or bits of torn paper, and assigning new overlays of unifying colors to the materials, Gardner erodes the original content at various levels often reducing them to shades with traces of random colors. The image that was once a bold headline new banner, or the newest eye catching product now struggles to be seen; muted, it now plays a secondary role to layers of paint and other mediums. The resulting serendipitous visual construction is an unsystematic reconfiguration and re-purposing to discuss culture, heritage and the symbolism of color.
He has been represented by Morton Fine Art since 2012.
Hiromitsu Kuroo (b. Japan) is a Japanese collage painter working in the tradition of origami. In his work, the canvas serves as the paper, and the gentle manipulation of its surface conveys intricate textural landscapes. The multiple layers of colors in his folded canvases are revealed by sanding the canvas surface. Interested in the juxtaposition and vitality of collaged pieces of canvas, he uses them to accentuate other emerging shapes in his compositions.
Kuroo earned both a BFA and MFA from Tohoku University of Art & Design and has had solo exhibitions at the New York based Tenri Cultural Institute, Gloria Kennedy Gallery, MIKIMOTO NY, Makari and Bronx Community College, as well as the Tokyo-based Gallery Yamaguchi and G-Art
Gallery. He was awarded Pollock-Krasner Foundation Grants in 2010 and 2019, Adolph & Esther Gottlieb Foundation Grant in 2022 and the artist residency program for The Golden Foundation in 2019. In 2020, he was interviewed for Forbes Magazine. He has been represented by Morton Fine Art since 2022.
Amber Robles-Gordon (b. Puerto Rico) completed her Masters of Fine Arts from Howard University in November 2011, where she has received annual awards and accolades for her artwork. Her exhibitions and artwork has been reviewed and/or featured in many esteemed publications including the Washington Post, the Miami Herald, Huffington Post and Callaloo Art & Culture in the African Diaspora.
Robles-Gordon was commissioned to create temporary and permanent public art installations for numerous art fairs and agencies such as the DC Commission on the Arts and Humanities, DCCAH; Northern Virginia Fine Arts Association (NVFAA); Humanities Council of Washington, D.C.; Howard University, James C. Porter Colloquium; Schomburg Center for Research in Black Culture; the Washington Projects for the Arts; Salisbury University; Martha’s Table; DC Department of General Services and Democracy Fund.
Additionally, she has been commissioned to teach workshops, give commentary and present about her artwork by the Smithsonian Anacostia Museum; Luther College; WETA Television; Al Jazeera; WPFW 89.3 fm; WAMU | American University Radio; The Kojo Nnamdi Show; Howard University, James A. Porter Colloquium; David C. Driskell Center; the Phillips Collection; the African American Museum in Philadelphia; McDaniel College; Salisbury University; Harvey B. Gantt Center; American University and National Museum of African American History and Culture. Her solo exhibition, Successions: Traversing US Colonialism, curated by Larry Ossei-Mensah, was hosted by the American University Museum at the Katzen Arts Center in 2021. She has been represented by Morton Fine Art since 2016.
Prina Shah (b. 1973, Kenya) is a contemporary artist currently living in Nairobi, Kenya. Born in Kenya to Indian parents, Shah also grew up partially in the U.K.; her artistic work embraces the indeterminacy of her national identity, including a fascination with the formation of selhood as it relates to a specific cultural context. In a creative practice spanning mixed media—including sculpture, painting, glasswork and less traditional materials such as human hair—Shah’s art challenges the notions of individualized identity within a communal whole. Shah uses meditation as the impetus and foundation of her work, drawing the viewer into a personal narrative and inviting the participant to share in her visual journey of interconnection as she explores what it means to be one among many.
Shah’s work has been included in numerous national and international exhibitions and has been acquired by the permanent collections of Finland’s Poikilo Kouvola Art Museum and the I&M Bank Collective in Kenya, as well as numerous private collections. She has been represented by Morton Fine Art since 2022.
Michael Andrew Booker. Sonder Gardens, 2022. 18 x 13 in. Fineliner pen, color pencil, fabric and collage on paper
GA Gardner. So You, 2014. 42 x 65 in. Mixed media on mylar.
Morton Fine Art: curator's notes 