ETO OTITIGBE | “Peaceful Journey” Sculpture Memorial for Heavy D | The New York Times

Laylah Amatullah Barrayn for The New York Times

A Memorial for ‘The Rapper Your Mother Liked’

Michelle Falkenstein Reporting from Mount Vernon, N.Y.

“Peaceful Journey,” a new abstract sculpture in Mount Vernon, honors Heavy D, the rapper, record producer and actor, who grew up in this city just north of the Bronx.

Here’s what I saw at the unveiling last week →

The mayor of Mount Vernon, Shawyn Patterson-Howard, a classmate and friend of Heavy D’s, spoke at the event.

“His music was the soundtrack of our city, and his positive message and infectious energy inspired generations of artists and fans,” she said. “He put Mount Vernon on the map.”

In 2011, Heavy D died at age 44 from a pulmonary embolism.

Born in Jamaica as Dwight Arrington Myers, Heavy D moved with his family to Mount Vernon when he was 2.

Wes Jackson, the founder of the Brooklyn Hip-Hop Festival, credits Heavy D, who saw success in the 1980s and ’90s, with opening the door for other Mount Vernon hip-hop artists like Sean “Diddy” Combs.

“He didn’t curse,” Jackson told me. “He was the rapper your mother liked.”

“I remember dancing to Heavy D’s music at parties,” said Eto Otitigbe, the Brooklyn artist who was selected to create a sculpture for the city. It was his idea to take inspiration for the piece from the rapper.

The work, over 18 feet tall, is made from marble and both stainless and Cor-Ten steel. The timing of the unveiling was fortuitous; a yearlong, 50th anniversary celebration of hip-hop is underway.

“Peaceful Journey” is at a busy intersection near Exit 7 on the Cross County Parkway, where it will both welcome people to Mount Vernon and bid them farewell.

As the song that inspired it goes: “So through all your travels, I’m wishing you a peaceful journey.”

Available Artwork by ETO OTITIGBE

SHOW US YOUR WALL – The New York Times feature on the art collection of Tony Gyepi-Garbrah and Desirée Venn Frederic including VICTOR EKPUK

THE NEW YORK TIMES

 

SHOW US YOUR WALL

Collecting to Explore ‘Origin, Culture, Form, Function and Race’

This Washington couple has floor-to-ceiling art as well as wearable creations and folk art curiosities.

Tony Gyepi-Garbrah and Desirée Venn Frederic at their residence in Washington. Credit Ting Shen for The New York Times

By Audrey Hoffer

• July 31, 2019

WASHINGTON — Desirée Venn Frederic and Tony Gyepi-Garbrah live in a light-filled apartment in the Trinidad neighborhood of Northeast Washington that is small in size but grand in scope.

The charcoal walls, stretching up to 15-foot ceilings, hold dozens of paintings, prints, photographs, 100-year-old textiles, collages, drawings, pastels, ceramics and antiques, conferring a museumlike aura on the home.

Ms. Venn Frederic is wearing art as well. Her floor-length slip dress, by the Brooklyn-based designer Fe Noel and the Chicago painter Harmonia Rosales, incorporates the image of a Yoruba deity, Oshun. Ms. Venn Frederic said the appeal of the dress was in its “fanciful and disruptive” character.

When the couple met four years ago, they were acquiring art individually. “One of the reasons I took an interest in Tony was because he understood legacy-building with art,” she said. She and Mr. Gyepi-Garbrah, 39, plan to marry later this year.

“Our environment is a reflection of the ethos and the curiosities we carry individually and as a couple, who we are at our core and what it means to be transcultural,” Ms. Venn Frederic, 37, said.

He is a first-generation American born to Ghanaian parents who works as an information technology engineer. He is also a photographer and painter.

She is of Geechee and Maroon ancestry. She was born in Freetown, Sierra Leone, and raised in Montgomery County, Md. Through her company, Combing Cotton, she pursues her interest in social equity.

“God Head” (2011), top, and “Untitled (Red and Black)” (2010), by Victor Ekpuk. Credit Ting Shen for The New York Times

She also envisions creating a museum of fashion and related ephemera.

These are edited excerpts from the conversation.

You recently hosted a private tour of your art collection as part of the 2019 Collector’s View series sponsored by Transformer [a gallery in Washington]. What was that like?

TONY GYEPI-GARBRAH In true salon style, 75 art aficionados, collectors and artists stood shoulder-to-shoulder talking art, art, art.

How do you select works to buy?

DESIRÉE VENN FREDERIC Meticulously. I don’t merely collect what I like. I’m attracted to works that challenge the linear understandings of origin, culture, form, function and race. I call these aesthetic triggers.

GYEPI-GARBRAH We buy from galleries, art fairs and auctions. We also scour estate sales and private vintage collections. Often we buy directly from the studios of artists with whom we build friendships. I do a lot of research before acquisitions.

Is there a piece with an interesting back story?

GYEPI-GARBRAH The two mixed-media works by Victor Ekpuk. I went oversees to Galerie SANAA in Utrecht, the Netherlands, to acquire “God Head.” During that time I discovered that Ekpuk was represented by Morton Fine Art [in Washington]. They had “Untitled (Red and Black),” so I bought it too. Now the pair is in conversation. Ekpuk lives in Washington and we’ve become friends.

Figurative wood sculptures, made in Ivory Coast. Credit Ting Shen for The New York Times

Top, “Chocolate City” (2010), by Steven M. Cummings, and “Inventions & Patents” (2014), by Charles Philippe Jean Pierre. Credit Ting Shen for The New York Times

Those little wood statues lined up against the wall on the floor look like toys.

VENN FREDERIC They’re Colon figurative sculptures depicting occupations — policeman, doctor, baker — held by colonists in the Ivory Coast between 1893 and 1920. I have a collection of 150.

Your photos capture images that span decades and can be read as a history of our times. How do you think photography represents both society today and in the past?

GYEPI-GARBRAH Photography is a visual documentation of fleeting moments and changing landscapes, and, in this vein, we believe Steven M. Cummings is a master. “Chocolate City” speaks to forced migrations and the displacement of African-Americans from their native lands.

“Fred Meets Fred” is an oversized black-and-white double image of Frederick Douglass that contrasts past and present. A chain dangling lengthwise from top to bottom of the picture separates the two Douglasses. The bicycle wheel symbolizes change and continuance of time.

A sofa in the apartment by Sharla Hammond. Credit Ting Shen for The New York Times

Your couch material is unusual. Did you commission the design?

VENN FREDERIC We acquired the couch from the visual and textile artist Sharla Hammond, who was inspired by “Afro Blue” [a jazz composition recorded by John Coltrane]. The fabric depicts the heads of five Afro-clad icons — Angela Davis, Betty Davis, Pam Grier, Minnie Riperton and Diana Ross.

Above the couch that black-and-white painting seems very in-your-face.

VENN FREDERIC It’s “Cow in the Field” by Andrew Cressman. We operated a gallery in Washington and exhibited his works. I continually approached this painting with a sense of wonder and bought it after the show [in 2015]. It takes up a lot of our wall real estate. I appreciate that some pieces overwhelm, and this is one.

Read the New York Times article in full.

 

Available artwork by VICTOR EKPUK. 

 

Morton Fine Art

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Washington, DC 20001

(202) 628-2787

http://www.mortonfineart.com

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