 |
Jefferson Pinder, Department of Art
Graduate Fellow, 2002
Artist's Statement
I consider myself a “visual sampler.” I utilize collage in the
same way that a DJ samples hip-hop music. I liken myself to musical artists
that sample previous hit songs to underscore their own themes and rhythms. By
appropriating media imagery, I empower myself.
In my current series of collages, I focus on contemporary media images. I seek
to harness the essence of commercial America in an effort to generate portraits
that are unique and truthful. As I sift through magazines, I manually analyze,
decode, and deconstruct these photos, toward a later reconstruction. My work
explores both urban and rural mythologies. Creating cut paper hybrids of fact
and fiction, I tear and paste paper upon paper to produce a layered cast of
portraits. In the tradition of Romare Bearden, David Driskell, and David Hammonds
my work is about recollecting truth from a personal past and using collage techniques
to create a cohesive thought or image. By creating a cast of self-made mythical
portraits, I examine what it means to be an Afro-American in a fragmented contemporary
society.
Experimentation has led me to work in different directions simultaneously.
Recently I’ve created large-scale assemblages that articulate a rugged
urban landscape. I have also begun working on unconventional found surfaces
(mufflers, bricks, frying pans, dart boards). I’ve discovered that these
objects help create a unique context for my contemporary imagery.
I garner strength from a proud and explosive African Diaspora art tradition.
From the playwright August Wilson to the hip-hop artist Mos Def my work mirrors
a variety of influences. Similar to Bearden, I strive to find a human commonality
with my collages.
Selected Works
 |
 |
 |
Brownstone
Mixed Media on Masonite, 36"x25"
|
Cool Disco Dan (Urban Phantom), 2001
Mixed Media on Masonite, 24"x48"
|
Processional, 2002
Mixed Media and Performance |
Fellow's Project Description
Processional
Growing up Catholic, I became intimate with the power of rituals. My father
who is a Deacon was passionate in his commitment to ceremonies and the performance
of these public displays. Watching my father perform these traditional and western
rituals sparked my interest. In many ways Processional is a product of
this fascination.
On a warm Sunday in March, I moved a fragmented telephone pole six miles, from
the Suburbs of Maryland to the inner city of Washington, DC. My experiment was
to see who would participate and how would my fellow pedestrians react to my
mission. Processional is quite simply about a journey. A journey from
white to black, from suburban to city, religious to secular, from art to reality.
This piece is also about movement. The process began with the creation of an
icon. This object—a telephone pole—is my passport and prop. Over a
period of three months I adorned this totem with images that wrestled with urban
plight. Using nails, staples and glue I sought to emulate street iconography.
The images are heavy. They reflect individuals, ideas and experiences both true
and fictionalized to create a collective character. When viewed together my
hope is to evoke ideas and feelings that ambiguously deal with struggle and
decay. These contemporary images not only reflect perceptions, but cultural
identity. By arranging and combining this pictorial collage, I am emulating
and stylizing the texture of city poles. I am drawing parallels between Totem
Poles, African fetish idols and inner city torn paper graffiti.
The movement of this 500-pound telephone/totem pole was symbolic of a multitude
of subjects. From an Afro-American point of view, the piece was reminiscent
of James Meredith tragic journey across Mississippi and King’s protest
in Selma. Marching, walking, and moving have always been a symbol of strength.
The slow labored movement of workers, the choreography of dance and the ritualized
ceremonies (like southern cakewalk) have all contributed to inspire the movement
aspect of this journey.
From Catholic ‘Stations of the Cross’ to 60’s rallies to Granny
D’s cross-country marathon, walking distances and journeys is an established
means to express and articulate social awareness. In this piece, Processional,
I embodied this spirit. This quiet journey established an external dialogue
between my work and my subject, and the journey of the inner city Black. Fully
aware that my work lacks authentic environment I am also moving the piece out
of the suburban confines to an urban landscape. I am holding a mirror up to
my work curious to see how it fairs.
Processional
Website
|
|
