![]() ![]() As his work deals with the mechanisms through which empire spreads, death as narrative and the eventuality of history, she caught back up with the artist to consider what forces alter the body politic in times of pandemic. Nevena Dzamonja spoke with Umar Rashid at his studio earlier this year, during LA Frieze Week, and before his shows at Spring Break and the Armory in New York. ![]() Working within and through the static limitations of history, rashid reinvestigates ideas about domination and suppression through nuanced portrayals of historical anecdotes that go beyond colonial criticism and revenge fantasy. Reminiscent of the work of Hector Hyppolite and Henry Darger, Rashid’s two-dimensional worlds flatten our expectations of victory and loss. ![]() His characters walk the same earth we do, and are beholden the same histories, but their reality is a hyper-saturated, detailed explosion of colonial reimagining that spans a multi-layered matrix of time and geography. The paintings of the Los Angeles-based artist, historian, poet and musician, also known as Frohawk Two Feathers, reconfigure colonial and imperial histories. ![]()
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