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Meron Engida Hawke shares Ethiopia in Washington, D.C.

BY CHADD SCOTT POSTED ON MAY 12, 20230 COMMENTS

Meron Engida Hawke, Ashenda girl 4, 2023. 16 x 16 in. Acrylic, woven cotton fabric, yarn and pearl on canvas. Courtesy of the artist and Morton Fine Art

Morton Fine Art presents ‘Hummingbird,’ an exhibition of mixed-media paintings and sculptures by artist Meron Engida Hawke. Made up of works from the artist’s series “Teff Teffa,” “Ashenda Girl” and “Highlander,” alongside still lifes in a muralist style, the exhibition tackles issues of migration, marginalization and resistance in contemporary Ethiopia. The artist’s second solo show with the gallery, Hummingbird, will be on view from May 16 – June 9, 2023 at Morton Fine Art’s Washington, D.C. location (52 O St NW #302).

A native of Addis Ababa now living in D.C., Meron Engida Hawke artwork explores Ethiopian identity, sustainable agriculture, labor relations and women’s issues in contemporary East Africa.

Struck by how the perception abroad of Ethiopia and Africa is consistently framed through media stories of famine, climate crises and war, Meron Engida Hawke explores these issues from the inside, generating subjects in her work that are both archetypal and specific, each of whom embodies the perspective of Ethiopian womanhood while proudly acknowledging the gaze of another.

Deftly weaving contemporary news items and personal interests into her portraits with a symbolist’s shorthand, the artist takes apart and rearranges stereotypical representations of Ethiopia while focusing on the beauty of the country’s traditions and cultures.

Heavily influenced by ancient Ethiopian art, Engida Hawke’s vibrant colors and crisp narrative subjects derive from the murals and religious paintings that populate the walls of Addis Ababa.

Creating from memory and imagination and research into her subjects, the artist starts with a basic tableau that she gradually layers with tones, figures and symbolic metonyms. Her recent work involves the development of a mixed-media practice that layers Ethiopian woven fabric onto canvas—an innovation inspired by recent news of Ethiopian clothing being mass manufactured with synthetic materials.

Engida Hawke’s inclusion of the handwoven fabric, as a testament to her heritage, shares pictorial space here with animals and pearls—part of the artist’s innate visual lexicon of innocence, forgiveness, elegance and justice. Weaving the weighted symbols of her native culture into increasingly disparate and secular works, Engida Hawke elaborates a narrative that telegraphs from the heart of Ethiopian identity into the cacophony of global media and international affairs.

In the artist’s “Teff Teffa” series, women practice the ancient rite of cultivating teff, a small grain used to make injera, the foundational flatbread of Ethiopian cuisine. The word teff comes from the Amharic teffa, meaning “lost”—a reference to the fact that the grain is so small that dropping one makes it impossible to find. Teff has been cultivated in Ethiopia for more than 6,000 years, a staple food for over 80 ethnic groups in the region and central part of Ethiopian national identity.

Today, teff has grown increasingly expensive to harvest and mill as a result of increasing global demand, as well as regional armed conflict and drought caused by climate change. Meron Engida Hawke references the devastation of proverbial “lost teff” in her backgrounds, dotted with the miniscule seed, while in the foreground she addresses the social and environmental effects of flower farming—a newly inedible cash crop for the region—dependent on its export to Europe and the subservience of women’s labor across eastern Africa.

Meron Engida Hawke, Highlander 2, 2023. 81 x 47 in. Acrylic, woven cotton fabric, yarn and pearl on canvas. Courtesy of the artist and Morton Fine Art

By contrast, Engida Hawke showcases the underrepresented side of the Ethiopian experience in her “Ashenda Girl” series by depicting women in moments of joy, freedom and righteous resistance. The series title references Ashenda, a colorful religious festival celebrated every August in northern Ethiopia by women and girls. Taking its name from a tall grass that is woven into skirts and worn for the duration of the three-day festival, the Ashenda girls also dress in traditional embroidered dresses, with fine jewelry and braided hair. The celebration is a joyous occasion of song and dance—an opportunity for the embrace of feminine self-expression.

The exhibition’s title, Hummingbird, comes from a story told by the late Kenyan activist Wangari Maathai, in which a hummingbird shows bravery by fighting a forest fire with only the water that can fit in its beak. The other animals, much larger and more capable, watch with a sense of futility while their habitat burns, but the hummingbird knows that every little bit helps. Engida Hawke connects this story to her personal experience in addressing social and climate issues through her art, and has recently taken to including mixed-media hummingbirds in her mesmerizing compositions of women like her, representing the freedom of empowerment through knowledge.

About the Artist

Meron Engida Hawke (b. Addis Ababa, Ethiopia) creates vibrant tableaus that act as a vehicle for exploring the artist’s personal experiences and Ethiopian cultural identity. Through trust in the mark-making process, Engida has developed a rich visual vocabulary that draws influence from the colors and narratives of ancient Ethiopian art.

At the intersections of abstraction and figuration, Engida’s works center a cast of expressive figures who together tell stories of vulnerability, empowerment, and resilience. Fusing memory and imagination, Engida layers tones, symbols and motifs to construct emotive scenes intended to prompt dialogue about migration, diversity and women’s experiences.

Eigda Hawke holds a BFA in Fine Art from Addis Ababa University School of Fine Arts and Design. She currently lives and works in Washington, DC.

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 and Global Diaspora.

Available artwork by MERON ENGIDA HAWKE

Martin Cid Magazine | MERON ENGIDA HAWKE | Hummingbird

Meron Engida Hawke in her studio, 2023. Courtesy of the artist and Morton Fine Art

Home / Art

New Paintings and Sculptures by Meron Engida Hawke Showcase Modern Ethiopia through Religious Tableaux

Festooned with flowers and animals imbued with symbolic weight, Engida Hawke’s new exhibition tells the story of market imperialism and feminist resilience in the artist’s homeland

by Art Martin Cid Magazine

May 18, 2023

 Art

Washington, D.C. – Morton Fine Art is pleased to present Hummingbird, an exhibition of mixed-media paintings and sculptures by artist Meron Engida Hawke. Made up of works from the artist’s series “Teff Teffa,” “Ashenda Girl” and “Highlander,” alongside still lifes in a muralist style, the exhibition tackles issues of migration, marginalization and resistance in contemporary Ethiopia. The artist’s second solo show with the gallery, Hummingbird will be on view from May 16 – June 9, 2023 at Morton Fine Art’s Washington, D.C. location (52 O St NW #302).

Thank God there is a river, 2021. 59 x 73 in. Acrylic and oil stick on canvas. Courtesy of the artist and Morton Fine Art

A native of Addis Ababa now living in D.C., Meron Engida Hawke’s artwork explores Ethiopian identity, sustainable agriculture, labor relations and women’s issues in contemporary East Africa. Struck by how the perception abroad of Ethiopia and Africa is consistently framed through media stories of famine, climate crises and war, Engida Hawke explores these issues from the inside, generating subjects in her work that are both archetypal and specific, each of whom embodies the perspective of Ethiopian womanhood while proudly acknowledging the gaze of another.

Deftly weaving contemporary news items and personal interests into her portraits with a symbolist’s shorthand, the artist takes apart and rearranges stereotypical representations of Ethiopia while focusing on the beauty of the country’s traditions and cultures.

Teff Mill 2, 2022. 48 x 81 in. Acrylic and wallpaper on canvas. Courtesy of the artist and Morton Fine Art

Heavily influenced by ancient Ethiopian art, Engida Hawke’s vibrant colors and crisp narrative subjects derive from the murals and religious paintings that populate the walls of Addis Ababa. Creating from memory and imagination and research into her subjects, the artist starts with a basic tableau that she gradually layers with tones, figures and symbolic metonyms. Her recent work involves the development of a mixed-media practice that layers Ethiopian woven fabric onto canvas—an innovation inspired by recent news of Ethiopian clothing being mass manufactured with synthetic materials. Engida Hawke’s inclusion of the handwoven fabric, as a testament to her heritage, shares pictorial space here with animals and pearls—part of the artist’s innate visual lexicon of innocence, forgiveness, elegance and justice. Weaving the weighted symbols of her native culture into increasingly disparate and secular works, Engida Hawke elaborates a narrative that telegraphs from the heart of Ethiopian identity into the cacophony of global media and international affairs.

In the artist’s “Teff Teffa” series, women practice the ancient rite of cultivating teff, a small grain used to make injera, the foundational flatbread of Ethiopian cuisine. The word teff comes from

the Amharic teffa, meaning “lost”—a reference to the fact that the grain is so small that dropping one makes it impossible to find. Teff has been cultivated in Ethiopia for more than 6,000 years, a staple food for over 80 ethnic groups in the region and central part of Ethiopian national identity. Today, teff has grown increasingly expensive to harvest and mill as a result of increasing global demand, as well as regional armed conflict and drought caused by climate change. Engida Hawke references the devastation of proverbial “lost teff” in her backgrounds, dotted with the miniscule seed, while in the foreground she addresses the social and environmental effects of flower farming—a newly inedible cash crop for the region—dependent on its export to Europe and the subservience of women’s labor across eastern Africa.

By contrast, Engida Hawke showcases the underrepresented side of the Ethiopian experience in her “Ashenda Girl” series by depicting women in moments of joy, freedom and righteous resistance. The series title references Ashenda, a colorful religious festival celebrated every August in northern Ethiopia by women and girls. Taking its name from a tall grass that is woven into skirts and worn for the duration of the three-day festival, the Ashenda girls also dress in traditional embroidered dresses, with fine jewelry and braided hair. The celebration is a joyous occasion of song and dance—an opportunity for the embrace of feminine self-expression.

Hummingbird, 2023. 70 x 50 in. Acrylic on canvas. Courtesy of the artist and Morton Fine Art

The exhibition’s title, Hummingbird, comes from a story told by the late Kenyan activist Wangari Maathai, in which a hummingbird shows bravery by fighting a forest fire with only the water that can fit in its beak. The other animals, much larger and more capable, watch with a sense of futility while their habitat burns, but the hummingbird knows that every little bit helps. Engida Hawke connects this story to her personal experience in addressing social and climate issues through her art, and has recently taken to including mixed-media hummingbirds in her mesmerizing compositions of women like her, representing the freedom of empowerment through knowledge.

Meron Engida Hawke (b. Addis Ababa, Ethiopia) creates vibrant tableaus that act as a vehicle for exploring the artist’s personal experiences and Ethiopian cultural identity. Through trust in the mark-making process, Engida has developed a rich visual vocabulary that draws influence from the colors and narratives of ancient Ethiopian art. At the intersections of abstraction and figuration, Engida’s works center a cast of expressive figures who together tell stories of vulnerability, empowerment, and resilience. Fusing memory and imagination, Engida layers tones, symbols and motifs to construct emotive scenes intended to prompt dialogue about migration, diversity and women’s experiences. Eigda Hawke holds a BFA in Fine Art from Addis Ababa University School of Fine Arts and Design. She currently lives and works in Washington, DC.

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 and Global Diaspora.

Morton Fine Art LLC

52 O St NW #302, Washington, DC 20001, United States

Available artwork by MERON ENGIDA HAWKE

Art Plugged | MERON ENGIDA HAWKE | Hummingbird

Meron Engida Hawke: Hummingbird

Exhibitions

Meron Engida Hawke: Hummingbird
May 16 – June 9, 2023
Morton Fine Art’s
Washington, D.C. location
(52 O St NW #302)

Hummingbird, an exhibition of mixed-media paintings and sculptures by artist Meron Engida Hawke. Made up of works from the artist’s series “Teff Teffa,” “Ashenda Girl” and “Highlander,” alongside still lifes in a muralist style, the exhibition tackles issues of migration, marginalization and resistance in contemporary Ethiopia.

The artist’s second solo show with the gallery, Hummingbird will be on view from May 16 – June 9, 2023 at Morton Fine Art’s Washington, D.C. location (52 O St NW #302).

Meron Engida Hawke, Thank God there is a river
Courtesy of the artist and Morton Fine Art

A native of Addis Ababa now living in D.C., Meron Engida Hawke’s artwork explores Ethiopian identity, sustainable agriculture, labor relations and women’s issues in contemporary East Africa. Struck by how the perception abroad of Ethiopia and Africa is consistently framed through media stories of famine, climate crises and war, Engida Hawke explores these issues from the inside, generating subjects in her work that are both archetypal and specific, each of whom embodies the perspective of Ethiopian womanhood while proudly acknowledging the gaze of another.

Deftly weaving contemporary news items and personal interests into her portraits with a symbolist’s shorthand, the artist takes apart and rearranges stereotypical representations of Ethiopia while focusing on the beauty of the country’s traditions and cultures.

Heavily influenced by ancient Ethiopian art, Engida Hawke’s vibrant colors and crisp narrative subjects derive from the murals and religious paintings that populate the walls of Addis Ababa. Creating from memory and imagination and research into her subjects, the artist starts with a basic tableau that she gradually layers with tones, figures and symbolic metonyms. Her recent work involves the development of a mixed-media practice that layers Ethiopian woven fabric onto canvas—an innovation inspired by recent news of Ethiopian clothing being mass manufactured with synthetic materials.

Meron Engida Hawke, Teff Mill 2, 2022 48 x 82 in.
Acrylic and wallpaper on canvas
Courtesy of the artist and Morton Fine Art

Engida Hawke’s inclusion of the handwoven fabric, as a testament to her heritage, shares pictorial space here with animals and pearls—part of the artist’s innate visual lexicon of innocence, forgiveness, elegance and justice. Weaving the weighted symbols of her native culture into increasingly disparate and secular works, Engida Hawke elaborates a narrative that telegraphs from the heart of Ethiopian identity into the cacophony of global media and international affairs.

In the artist’s “Teff Teffa” series, women practice the ancient rite of cultivating teff, a small grain used to make injera, the foundational flatbread of Ethiopian cuisine. The word teff comes from the Amharic teffa, meaning “lost”—a reference to the fact that the grain is so small that dropping one makes it impossible to find. Teff has been cultivated in Ethiopia for more than 6,000 years, a staple food for over 80 ethnic groups in the region and central part of Ethiopian national identity.

Today, teff has grown increasingly expensive to harvest and mill as a result of increasing global demand, as well as regional armed conflict and drought caused by climate change. Engida Hawke references the devastation of proverbial “lost teff” in her backgrounds, dotted with the miniscule seed, while in the foreground she addresses the social and environmental effects of flower farming—a newly inedible cash crop for the region—dependent on its export to Europe and the subservience of women’s labor across eastern Africa.

Meron Engida Hawke, Untitled 1,
Courtesy of the artist and Morton Fine Art

By contrast, Engida Hawke showcases the underrepresented side of the Ethiopian experience in her “Ashenda Girl” series by depicting women in moments of joy, freedom and righteous resistance. The series title references Ashenda, a colorful religious festival celebrated every August in northern Ethiopia by women and girls. Taking its name from a tall grass that is woven into skirts and worn for the duration of the three-day festival, the Ashenda girls also dress in traditional embroidered dresses, with fine jewelry and braided hair. The celebration is a joyous occasion of song and dance—an opportunity for the embrace of feminine self-expression.

The exhibition’s title, Hummingbird, comes from a story told by the late Kenyan activist Wangari Maathai, in which a hummingbird shows bravery by fighting a forest fire with only the water that can fit in its beak. The other animals, much larger and more capable, watch with a sense of futility while their habitat burns, but the hummingbird knows that every little bit helps.

Engida Hawke connects this story to her personal experience in addressing social and climate issues through her art, and has recently taken to including mixed-media hummingbirds in her mesmerizing compositions of women like her, representing the freedom of empowerment through knowledge.

https://www.instagram.com/meronengidahawke/

Learn more about: Hummingbird

©2023 Meron Engida Hawke

Available Artwork by MERON ENGIDA HAWKE

ArtAfrica | MERON ENGIDA HAWKE | Hummingbird

New paintings and sculptures by Meron Engida Hawke showcase modern Ethiopia through religious tableaux

EXHIBITION

11 May 2023

Festooned with flowers and animals imbued with symbolic weight, Engida Hawke’s new exhibition tells the story of market imperialism and feminist resilience in the artist’s homeland.

Meron Engida Hawke, Highlander 2, 2023. Acrylic, woven cotton fabric, yarn and pearl on canvas, 51 x 81 in.. Courtesy of the artist and Morton Fine Art.

Morton Fine Art is pleased to present Hummingbird, an exhibition of mixed-media paintings and sculptures by artist Meron Engida Hawke. Made up of works from the artist’s series ‘Teff Teffa’, ‘Ashenda Girl’ and ‘Highlander’, alongside still lifes in a muralist style, the exhibition tackles issues of migration, marginalisation and resistance in contemporary Ethiopia. The artist’s second solo show with the gallery, ‘Hummingbird’ will be on view from the 16th of May until the 9th of June, 2023, at Morton Fine Art’s Washington, D.C.

A native of Addis Ababa now living in D.C., Meron Engida Hawke’s artwork explores Ethiopian identity, sustainable agriculture, labor relations and women’s issues in contemporary East Africa. Struck by how the perception abroad of Ethiopia and Africa is consistently framed through media stories of famine, climate crises and war, Engida Hawke explores these issues from the inside, generating subjects in her work that are both archetypal and specific, each of whom embodies the perspective of Ethiopian womanhood while proudly acknowledging the gaze of another. Deftly weaving contemporary news items and personal interests into her portraits with a symbolist’s shorthand, the artist takes apart and rearranges stereotypical representations of Ethiopia while focusing on the beauty of the country’s traditions and cultures.

Heavily influenced by ancient Ethiopian art, Engida Hawke’s vibrant colours and crisp narrative subjects derive from the murals and religious paintings that populate the walls of Addis Ababa. Creating from memory and imagination and research into her subjects, the artist starts with a basic tableau that she gradually layers with tones, figures and symbolic metonyms. Her recent work involves the development of a mixed-media practice that layers Ethiopian woven fabric onto canvas – an innovation inspired by recent news of Ethiopian clothing being mass manufactured with synthetic materials. Engida Hawke’s inclusion of the handwoven fabric, as a testament to her heritage, shares pictorial space here with animals and pearls – part of the artist’s innate visual lexicon of innocence, forgiveness, elegance and justice. Weaving the weighted symbols of her native culture into increasingly disparate and secular works, Engida Hawke elaborates a narrative that telegraphs from the heart of Ethiopian identity into the cacophony of global media and international affairs.

Meron Engida Hawke, Teff Teffa 9, 2022. Acrylic on canvas, 66 x 49 in. Courtesy of the artist and Morton Fine Art.

In the artist’s ‘Teff Teffa’ series, women practice the ancient rite of cultivating teff, a small grain used to make injera, the foundational flatbread of Ethiopian cuisine. The word teff comes from the Amharic teffa, meaning “lost” – a reference to the fact that the grain is so small that dropping one makes it impossible to find. Teff has been cultivated in Ethiopia for more than 6,000 years, a staple food for over 80 ethnic groups in the region and central part of Ethiopian national identity. Today, teff has grown increasingly expensive to harvest and mill as a result of increasing global demand, as well as regional armed conflict and drought caused by climate change. Engida Hawke references the devastation of proverbial “lost teff” in her backgrounds, dotted with the minuscule seed, while in the foreground she addresses the social and environmental effects of flower farming – a newly inedible cash crop for the region – dependent on its export to Europe and the subservience of women’s labor across eastern Africa.

Meron Engida Hawke, Ashenda girl 4, 2023. Acrylic, woven cotton fabric, yarn and pearl on canvas, 16 x 16 in. Courtesy of the artist and Morton Fine Art

By contrast, Engida Hawke showcases the underrepresented side of the Ethiopian experience in her ‘Ashenda Girl’ series by depicting women in moments of joy, freedom and righteous resistance. The series title references Ashenda, a colourful religious festival celebrated every August in northern Ethiopia by women and girls. Taking its name from a tall grass that is woven into skirts and worn for the duration of the three-day festival, the Ashenda girls also dress in traditional embroidered dresses, with fine jewellery and braided hair. The celebration is a joyous occasion of song and dance – an opportunity for the embrace of feminine self-expression.

The exhibition’s title, ‘Hummingbird’, comes from a story told by the late Kenyan activist Wangari Maathai, in which a hummingbird shows bravery by fighting a forest fire with only the water that can fit in its beak. The other animals, much larger and more capable, watch with a sense of futility while their habitat burns, but the hummingbird knows that every little bit helps. Engida Hawke connects this story to her personal experience in addressing social and climate issues through her art, and has recently taken to including mixed-media hummingbirds in her mesmerising compositions of women like her, representing the freedom of empowerment through knowledge.

Meron Engida Hawke (b. Addis Ababa, Ethiopia) creates vibrant tableaus that act as a vehicle for exploring the artist’s personal experiences and Ethiopian cultural identity. Through trust in the mark-making process, Engida has developed a rich visual vocabulary that draws influence from the colours and narratives of ancient Ethiopian art. At the intersections of abstraction and figuration, Engida’s works centre a cast of expressive figures who together tell stories of vulnerability, empowerment, and resilience. Fusing memory and imagination, Engida layers tones, symbols and motifs to construct emotive scenes intended to prompt dialogue about migration, diversity and women’s experiences. Enigda Hawke holds a BFA in Fine Art from Addis Ababa University School of Fine Arts and Design. She currently lives and works in Washington, DC.

The exhibition will be on view from the 16th of May until the 9th of June, 2023. For more information, please visit Morton Fine Art.

Available Artwork by MERON ENGIDA HAWKE

Artnet | MERON ENGIDA

Gallery Network

This Valentine’s Day, Bypass the Flowers and Chocolate in Favor of an Artwork From the Artnet Gallery Network

We’ve rounded up nine romantic and love-inspired works to help celebrate Valentine’s Day.

Artnet Gallery Network, February 14, 2023

Fernando Daza, Raspberry circle on dark red (2022). Courtesy of Soraya Cartategui Fine Art, Madrid, New York.

Finding the perfect Valentine’s Day gift can be tough. There’s the tried-and-true—a dozen roses, a box of chocolate, or maybe even a plushie—but why not surprise your significant other this year with a love-inspired work of art that will last a lifetime? We combed through hundreds of artworks on the Artnet Gallery Network and found nine love-inspired artworks that make for an incredible last-minute—yet still truly thoughtful—gift.

And if you don’t see one that quite fits the bill here, you can explore and discover the perfect piece for that special someone (or yourself!) right from home with the convenience of Artnet Gallery Network’s digital platform.

Greg Miller
Come On (2022)
Inquire for More Information

Greg Miller, Come On (2022). Courtesy of the White Room Gallery, Bridgehampton.

Veronique Cauchefer
Romance (2022)
Inquire for More Information

Veronique Cauchefer, Romance (2022). Courtesy of Helwaser Gallery, New York.

Meron Engida
Thinking of You #6 (2021)
Inquire for More Information

Meron Engida, Thinking of You #6 (2021). Courtesy of Morton Fine Art, Washington, D.C.

Available artwork by MERON ENGIDA

Partnership between global digital platform for art from Africa and the African Diaspora | Pavillon 54 | and Morton Fine Art

ENGAGING THE STORY OF ART FOR A SUSTAINABLE AFRICAN ART MARKET: THE PARTNERSHIP BETWEEN PAVILLON54 AND MORTON FINE ART

ENGAGING THE STORY OF ART FOR A SUSTAINABLE AFRICAN ART MARKET: THE PARTNERSHIP BETWEEN PAVILLON54 AND MORTON FINE ART

JULY 16, 2021

Amy Morton at Morton Fine Art gallery

As the one-stop global digital platform and community for art from Africa and the Diaspora, Pavillon54 always seeks to enter fruitful partnerships with artists, curators, collectors, and galleries. It became only natural, then, that for the next step of our development, we partnered with some of the most exciting international galleries that specialise in contemporary African art and share our vision for the African art market.

A couple of months ago, Pavillon54 entered a partnership with Morton Fine Art, a Washington DC gallery and curatorial group, headed by Amy Morton, that provides museum-quality art with a focus on the African Diaspora. We were instantly drawn to Morton Fine Art due to their impressive roster of artists and the diversity of their offering, whether geographically, in style, in medium, or in the range of artists themselves. What was most captivating, however, was our shared vision to go beyond the commercialisation of African art and to tell the underlying stories—an essential element to foster a sustainable development of the market.

With Pavillon54’s expertise in the African art market and digital strategy, combined with Morton Fine Art’s incredible roster of artists, finding contemporary African art that is not only aesthetically exceptional, but also enriched in narrative, becomes easier for the African art collector. Together, Pavillon54 and Morton Fine Art are making high-calibre contemporary African art more accessible, more transparent, and more meaningful.

We sat down with founder and curator Amy Morton, to learn more about how Morton Fine Art was founded, and what makes it an extraordinary destination for African art.

Gallery View at Morton Fine Art, Artworks by Victor Ekpuk, Kesha Bruce and GA Gardner

P54: How did Morton Fine Art come to be? What was the driving force or need to be filled that resulted in the creation of the gallery?

AM: I founded Morton Fine Art in 2010. My first exhibition was launched early that year under Morton Fine Art’s trademark mobile gallery, a pop-up project in Washington, DC in the Penn Quarter neighborhood. It was in a former gallery space which I had leased short term, for a three-month period. I was interested in curating an exhibition that I felt positioned substantive art in the market and quickly realized I needed a permanent location to continue in that vein. I then leased a space in Adams Morgan, a quirky district in DC known for independent businesses. Morton Fine Art was in that location for 9 years before moving to a flourishing creative community in Truxton Circle at 52 O St NW, where it has been for nearly 3 years. 

From its inception, the inclusion of diverse voices, nurturing a safe space and working with an educational stance has been at the forefront of the gallery’s mission. I am firmly committed to a comfortable and intimate gallery space intended for exploration and journeying through visual art.  

P54: Why the focus on the African Diaspora?

AM: I have always been interested in and open to artwork and original voices from all over the world. Interconnectedness between people and exploring the human condition fascinates me. I value our collective overlaps and progressions toward deeper shared understandings and relationships. In the 90’s I attended Occidental College in Los Angeles, where my studies in art were informed by a strong commitment to equity and diversity. I think the combination of these personal priorities resulted in a natural inclusion of artists from the African diaspora, as well as from many other places and orientations, whose practice foregrounds pertinent, globally relevant, philosophical questions. With these values at the center of my work, Morton Fine Art’s curatorial vision has bloomed and been enriched organically.  

My vision for the gallery, as well as for my life, is to create a safe space for dialogue and the sharing of ideas. In that way, the evolution of the gallery has been very process-oriented, and not something that was artificially orchestrated or even conscious much of the time. It continues to be a growth-oriented work in progress. I studied fine art and art history and appreciate that visual art is a potent tool for highlighting issues which may otherwise be difficult for people to address. I am attracted to the intersection of art and activism, and how artwork can be an effective tool for personal introspection, interaction, dialogue and ultimately, I hope, change and growth. 

 Osi Audu ‘Self Portrait, after Head of a Shango Staff’ (2017)

P54: What qualities do you see in an artist when you sign them on and how do these connect with the mission of Morton Fine Art?

AM: I usually know we are well matched right away. My artist partners are incredible at what they do! First and foremost, their creative vision and visual language inspire me on such a deep level. Examples include Osi Audu‘s philosophical exploration of “The Tangible and Intangible Self “; Victor Ekpuk‘s mining of historical narratives, the vocabulary of the contemporary African diaspora, and humanity’s connection to the sacred;  Rosemary Feit Covey‘s attention and sensitivity to the delicacy of earth and the natural world; Maliza Kiasuwa and Meron Engida‘s themes of reconciliation; and Lizette Chirrime’s interconnectivity between art practice, spirituality and healing.

Rosemary Feit Covey ‘Amethyst Deceivers II’ (2019)

Their deep and meaningful engagement with these themes is what powers my belief in them and commitment to uplifting their voices. The artwork shown here is purely the artists’ visions, created without gallery interference. I look for long-term partnerships, so synergy is also important. The relationship needs to be trust-based and natural as we often spend years working together. These strong personal connections are important for understanding the creations themselves, allowing me to do my job better.

 Victor Ekpuk ‘Mask Series 2’ (2018)

P54: What excites you most about the African art market, and working in this field?

AM: Learning, evolving, exploring questions and shared histories, and meeting artists with lasting substance and incredible talent—there is an abundance of all of that in the African art market. It is endless. With art, I can never be bored—either when exploring an individual piece I connect with or with creations at large. Art is a mirror, and it fascinates me to see what is revealed in a moment and how more reveals itself with time. Contemporary artists remind us of where we are, including our shortcomings and our most sacred parts. They invite us to do better.

Maliza Kiasuwa ‘Brown Skin 1’ (2021)

P54: What are some of Morton Fine Art’s greatest moments or achievements?

AM: First and foremost, I am proud to have such outstanding artist partners who center substantive concepts and demonstrate a mastery of medium. The artists I work with are thoughtful, tremendous and have so much to say and share! The backbone of the gallery is our partnership, as is our shared trust in each other. It is fascinating to see organic shifts and developments in their artwork and art practice, knowing their growth informs new iterations of brilliance. It is also very rewarding to witness their points of public-facing recognition, including in national and international museums and publications. 

Meron Engida ‘Solidarity 9’ (2020)

AM: I am personally proud of the warm vibe of the space and the maturity of conversations and experiences shared here through art. This is a gallery for everyone to explore, regardless of experience or exposure to art.  Authenticity is valued as are questions and feelings, even when layered.  In many ways it has the intimacy and hominess of a salon, and that facilitates connection with artists, collectors and enthusiasts alike.

Morton Fine Art

52 O St NW #302

Washington, DC 20001

(202) 628-2787

info@mortonfineart.com

http://www.mortonfineart.com

MERON ENGIDA in ZO mag’ by Roger Calme

https://zoes.fr/

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PEINTUREPublié le 30 juin 2021Laisser un commentaire

Ethiopie / Peinture / Meron Engida  / LA MERE, L’ENFANT ET LES OISEAUX

écrit par Roger Calme

Avant de commencer une journée,  jeter un oeil sur une chose apaisante. Pourquoi ne pas fonctionner de cette façon ? Il ne s’agit pas d’un exercice thérapeutique mais d’une fenêtre ouverte qui change l’air de la pièce et dissipe les toxines. Souvent la peinture de Meron Engida agit de cette façon. On regarde, on observe ces visages aux grands yeux, ces lèvres posées sur des mots tranquilles. Parfois des femmes se retrouvent et s’assoient ensemble sur une natte. Ça s’appelle « Solidarité », et ça résume parfaitement la philosophie de l’artiste.

Leurs langues et les coutumes diffèrent mais leur entente est parfaite. 

« Les enfants et les agneaux sont le vocabulaire visuel que j’utilise pour exprimer mon innocence et mon pardon. J’ai l’intention de créer un dialogue sur la diversité et les femmes.Mon envie est d’écouter leurs expériences, de libérer des mots, qui apportent le réconfort, l’empathie, la curiosité de l’autre. »  Sa dernière série s’inscrit donc tout entière dans cet esprit. Ces femmes assises représentent toutes les tribus de l’Ethiopie. Leurs langues et les coutumes diffèrent mais leur entente est parfaite. 

Dans cette galerie paisible, la famille est une vertu inébranlable, que la peintre associe aux ocres, aux terres de sienne, dans une lumière transversale et des teintures de tissus. « C’est une célébration d’humanité », que la toile diffuse. Il est huit heures du matin. La journée vient juste de commencer. On regarde la toile, on regarde la fenêtre ouverte et les arbres remplis d’oiseaux. 

RC (ZO mag’)
Photos Morton Fine Art et M. Engida
https://www.mortonfineart.com/artists

MERON ENGIDA’s solo exhibition “Solidarity” reviewed in Washington Post

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  “Solidarity 6” (2020) by Meron Engida. Acrylic on canvas, 68.50 x 67.50 in. (Courtesy of the Artist and Morton Fine Art)

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  “Solidarity 11” (2020) by Meron Engida. Acrylic on canvas, 36 x 36 in. (Courtesy of the Artist and Morton Fine Art)

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Meron Engida

By Mark Jenkins Oct. 16, 2020 at 7:00 a.m. EDT

Color, pattern and family are what Ethiopia-bred D.C. painter Meron Engida remembers about her homeland. Or at least that’s what the neo-expressionist emphasizes in “Solidarity” at Morton Fine Art, her first U.S. solo show. Most of Engida’s canvases are crowded with women in domestic scenes, their faces rendered in simple black lines, except for the bright red oblongs that often represent lips. Children appear in many of the vignettes, and one of the few pictures that depicts just two people shows a mother and infant. It’s a self-portrait, but then that’s essentially what all these paintings are.AD

The circles, florals and zigzags that decorate their clothing also appear around and atop the figures, either painted or incised into the pigment, merging subject and embellishment. That unity suggests the influence of fabric design, as does the flatness of Engida’s style. Bright reds and blues punctuate the compositions, but the dominant tones are earthy. The tans and browns express a range of skin tones in ethnically diverse Ethiopia. In Engida’s stylized vision of that country, the landscape is primarily human.

Meron Engida: Solidarity Through Oct. 28 at Morton Fine Art, 52 O St. NW, No. 302. Open by appointment.

Available Artwork by MERON ENGIDA

Ethiopian artist MERON ENGIDA’s debut U.S. solo exhibition “Solidarity” at Morton Fine Art in DC

 

 

Virtual tour and artist talk of MERON ENGIDA’s debut U.S. solo exhibition, Solidarity. Launching on Morton Fine Art’s YouTube channel.  Contact the gallery for private viewing appointments, price list and acquisition. Visit our Website  ‌ ‌ ‌  ‌ MERON ENGIDA’s solo exhibition Solidarity and artist talk at Morton Fine Art, Washington, DC. Video credit: Jarrett Hendriix Solidarity A solo exhibition of paintings by MERON ENGIDA September 22nd – October 28th, 2020 VIRTUAL TOUR and ARTIST TALK On Morton Fine Art’s YouTube Channel TODAY Contact the gallery for private viewing appointment, price list, additional information and acquisition. (202) 628-2787 (call or text) mortonfineart@gmail.com (email) Available artwork by MERON ENGIDA MERON ENGIDA, Solidarity 3, 2020, 33″x35.5″, acrylic on canvas About Solidarity My art has been my language to express myself and my voice. My work explores personal experiences and my Ethiopian cultural heritage. Oftentimes my subject matter reflects my life as a mother in a multiracial family. My figures are diverse and often huddled together, with wide eyes. Children and lambs are the visual vocabulary I use to express innocence and forgiveness. I intend to create dialogue about diversity and women – for example, a face with open mouth represents women freely exploring and expressing themselves. Women also hold in more pain than they let out and hold each other demonstrating resilience. My most recent series addresses challenges of race and identity. One painting depicts figures from all of the Ethiopian tribes together, celebrating each other’s uniqueness. My inner feelings and values call for the love, embrace and celebration of humanity, transcending past and present, despite our differences. – MERON ENGIDA, 2020 MERON ENGIDA, See the Love, 2020 36″x36″, acrylic on canvas MERON ENGIDA, Solidarity 11, 2020, 36″x36″, acrylic on canvas About MERON ENGIDA Born in Ethiopia, MERON ENGIDA received her degree from Addis Ababa University School of Fine Arts and Design in 2007. She has exhibited her paintings extensively in Addis Ababa, Ethiopia including at the National Art Gallery. Solidarity marks her inaugural U.S. solo exhibition at Morton Fine Art in Washington, DC. She notes, “When I start a painting, there are no rules. Sometimes I work from pictures but most of the time I create from imagination. Sometimes I start with a drawing and other times with acrylic paint on canvas which I layer with tones, symbols, and a motif. The figures emerge with expressive features, emotions, and texture. I work on the paintings with trusting mark-making, not knowing where I’m going. My creative process continues until I am surprised and content and then I revisit later to see if it is indeed finished.” She is represented by Morton Fine Art in Washington, DC. MERON ENGIDA, Solidarity 5, 2020, 30.5″x76.5″, acrylic on canvas MERON ENGIDA, Solidarity 9, 2020, 33.5″x32″, acrylic on canvas Available artwork by MERON ENGIDA 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 52 O St NW #302 Washington, DC 20001 COVID-19 protocol: By appointment. Mask required. Contact the gallery for supplementary artwork documentation such as detail images and short videos. Safe, no contact door to door delivery available. Shipping nationally and internationally.

Morton Fine Art | 52 O St NW #302, Washington, DC 20001 www.mortonfineart.com

Studio visit with Ethiopian artist MERON ENGIDA

 

 

Ethiopian artist MERON ENGIDA shares her studio, art practice and inspiration. Contact Morton Fine Art for additional information and acquisition of her incredible paintings.

Morton Fine Art

52 O St NW #302

Washington, DC 20001

(202) 628-2787 (call or text)

mortonfineart@gmail.com

http://www.mortonfineart.com