Blackness in Venice
Gregory Rose, USA, recently joined GAP IV in Venice with Carl Heyward, GAP (Global Arts Project) founder and other international artists who converged on Venice during the GAP IV arts residency, July 27 – August 21 this year. Gregory has a MFA in Fine Arts and is currently teaching at Minnesota State University. Gregory produced a vibrant collection of mixed-medium collage works during his Italian residency. I asked participating GAP artists to collect their Venice experiences in journal format so that I could present several of these personal encounters. Day 3 of Gregory’s log opens with his note: “Been up since 4:45 am Venice time making art!!! What the fuck am I thinking!?” What stood out most in this day 3 summary was his reference to his blackness, and how it engaged Venice, without a boundary of color.
After taking a very close look at the pics from yesterday (Wall portrait series continued from 2012) I want more of these scars, battle wounds and evidence of human conflict, conversation and interaction. I am convinced the very “concept” main thread in my work truly is connected to the street(s) and urban life. While-Blackness is still a vital part—although this philosophy is becoming transcendent in nature—Blackness for me is all the physical, psychological, spiritual and metaphysical qualities one finds in the idea of Blackness, not just living in Black skin. Detritus (waste) within our experiences and existence is more of the focus through the lens at times of an African-American Man living in America. Gregory Rose day 3 journal excerpt
HAF: How does this phrase relate to an event or experience in Venice that motivated this thought?
Gregory: The main event or experience that lead to this quote came from a conversation with fellow GAP artist Macha Melanie of France and I had on the deck of the apartment. We all had many conversations but namely what we all were getting at was that Venice was/is a time to break away, divorce, reinvent one’s bubble or box. The bubble/box is that structure or space in which we all kind of circle around ideas and habits that might not always lead to a break through? Or may it’s that space and circumstances that keeps you from making your work in a place where you grow and find “something”, anything to keep you engaged, happy and grow as a person. What Macha calls the main idea in her work as a dancer…..? ”Movement”!
Namely because I want to teach my children that we—people of color can in fact have the same open life and options as the dominant class. Macha, was talking with me about how it is hard to see and understand from afar the blight and the despair that I, have to endure day to day.
HAF: How was this thought/feeling translated into your solo work? Do any of the works attached reflect that feeling or maybe a direct visual response to this thought?
Gregory: The translation you may or may not see, is the shift to and from large amounts of fragments with extensive texture and color being juxtaposed with open space and gesture. The map-like gestures and fragments combine to create what I like to call “urban abstractions.” The color or lack thereof also plays a part in locating a time in history based in pop culture, ethnic studies, and politics. While celebrating my existence by creating “works” of art, I find myself always going back to the square, the rectangle and using photography to help me analyze and critique the history of painting, drawing and photography—by exploiting those surfaces and appropriating the visual battle over territory, entrances and exits.
HAF: Do any of the works featured in the slide show reflect that feeling or maybe a direct visual response to this thought.
Gregory: Most of the work you chose is rooted in the experience and this complex duality about skin and the memory of experience one’s skin can translate. Venice was a time of healing for me. A time to work almost in complete anonymity. Venice and the GAP participants and structure was a space of collaboration between peers. Since we lived with each other, I feel we shared on both the artistic level but more on the personal level as well. Venice had a sophisticated, complex love and respect for my very presence. I guess if I had to pick a very specific or a favorite aspect of my trip to Venice with GAP, it would be how my color changed from almost, Black, white, red, yellow, orange, to a sea blue, with green and warm yellow orange hints. My color started to reflect the colors of Venice. I arrived, I shook off the burden of America and was for once present in a different space, a very magical and romantic space called Venice.
Fantastic art! I love the HAF interviews. It’s the best way to get into the mind of all the artists. I love seeing Gregory’s transformation from the limited pallet to the use of color.
thanks for the comment Beth, appreciated