Art Review of “The Fruit and the Seed”


In “Seeing the God in me,” Ian Bethell Bennett reviews the work of Cydne Coleby and Jalan Harris, artists included in the Ninth National Exhibition (NE9), “The Fruit and the Seed,” on view at the National Gallery of the Bahamas. Here are excerpts from the Nassau Guardian:

Creative practice often opens the earthly self to infinite power of divine intervention.  It is also a barrier-breaking expression and creative practice also allows healing.  Art is multifaceted in its approach to the everyday as well as the transformative or the revolutionary.   The “Fruit and the Seed”, the theme for the Ninth National Exhibition (NE9) provides artists the space to explore moving beyond essentialisms in an expansive way.

Artists Cydne Coleby and Jalan Harris do just this as they deconstruct the barrier between the perceived (un)beauty of Blackness, the distance between self, God and female expression as well as the space for voice, as postcolonial, decolonial, and feminists critics argue.  The colours and images brought together in dialogue through mixed media facilitate the artists’ journey through trying to understand self.

[. . .] The writers James Baldwin and Jean Rhys, and performers Josephine Baker, Claude McKay, and James Joyce, all used their time in Paris around les années folles––the crazy years–– between the wars to deconstruct expressionism which transgressed boundaries and barriers.  People explored the concepts of decolonial thinking.  Paris was not only the home of expanding artistic expression and gender exploration, but it served as home to political ‘dissidents’ and artistic flair.  Paris’ interwar years would change the face of colonial politics and art.  It was a step into Black is beautiful and seeing the God in those who had been barred from possessing rights.

The trends from French modernism, arise in Harris’s work.  The combination of colour and subject matter are edgy and rambunctious, yet squarely decolonial in the ways they challenge gender confines and the colonial male gaze imposed on all subjects.  Perhaps the work being done for the National Exhibition 9, can be seen as a challenge to whose gaze controls/owns our bodies.  The problem is always as M. Jacqui Alexander claims, the white colonial male gaze continues to imprison postcolonial bodies in a power dynamic that reduces them to subjects of outdated control.  The artists in these works grapple with this gaze, subverting it and using elements of their experiences to speak out against it.  However, Harris also seriously challenges this with the concept of self-pollination.  There can be no binary, which is what so much of cutting edge decolonial thought and art address; this was in part at the heart of the Paris movement.

While those battles were fought, today, women are constantly berated into seeing something themselves as other than god.  They are taught from birth, especially in fundamentalist and extremely religious homes that men are better than they are and that they should serve men.  Men are likewise taught that they should dominate women, as they are the superior sex.  This causes endless strife and discord.  Yet, we continue to espouse such violence and to encourage disharmony in relationships that could otherwise be harmonious. Art addresses much of this gendered and disempowering discourse, and much of this is deconstructed by Harris and Coleby’s works.

The gaze that envelopes us is male. The gaze is also further complicated by race, class, religion, ethnicity and myriad power dynamics that we do not discuss, even though they silence most forms of women empowerment, and indeed most people of colour empowerment. Women’s images are usually more damaged through distortion and imposed gendered norms of inferiority and subservience than most male identities; however, the image of women and their relationship in society and with societies also influences how men behave. [. . .]

Coleby’s and Harris’s work come together to draw our eyes outside of their comfort zone of female-empowered male privilege to a gaze that, with colour and vibrancy, merges disunity and creates a conversation with self and the God power that created us.  As Coleby notes the worshiper and the worker coexist; one does not preclude the existence of the other. Though our societies continue to insist they do.

Harris’s work uses a body that could be androgynous, but really is not because it self-pollinates.  It merges the human and the natural into a space of flower power through exoticization of the erotic, though already deconstructing the Gauguin image of exotic femininity.

Black is beautiful female, self, godliness, and self-pollination function in pulling closely towards the Fruit and the Seed’s ideas of challenging the binaries we inhabit. The themes all challenge the imposed socio-cultural religious barrier between seeing God in me, though we be godlike.

[Works from the ‘Self Pollinate” series (2018), by Jalan Harris.]

For full article, see

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