Contemporary art is very intriguing as it often depicts and reflects on current affairs, sometimes in a critical way that wants to shine a light on societal shortcomings and aims to push humanity to do better. In light of recent events, the Black Lives Matter movement became once more a powerful voice that demanded change. To empower the voices of contemporary artists, Singulart spoke to five of our own and asked them to share their thoughts on this issue.
Saleh Lo (Mauritania)
How has this movement influenced you in your work and you as an artist?
I knew of the #BlackLivesMatter movement following George Floyd’s death by a police officer in Minneapolis (even if I realized the movement has existed since 2013). By collecting information on the movement, I found out that there were some similarities between the fundamentals of the movement and the issues I address in my work; first of all giving voice to those who have no voice, to people on the margins of society or to people who are treated as being inferior by others.
George Floyd repetitively said “I can’t breathe, I can’t breathe” and like him, many people, still today, can’t speak, can’t express their rights, can’t have equal opportunities, can’t live their freedom because they are subjugated by someone who thinks having the right to mistreat them, physically or psychologically.
Hence, as well as many of my other portraits depicting descendants of slaves, slaves, children of the street and people forgotten by society, in the same way, the portrait of George Floyd gives voice to all those people who are subjected to unjustified violence because of their skin color.
The #BlackLivesMatter movement is, for me, the evidence that discrimination and racism are still, unfortunately, present issues afflicting our society. As an artist, and a black person, I felt touched to join the movement with my art.
What changes would you like to see in the artworld as a consequence of this?
Artists have and can play an important, fundamental role in our society. The spread of many exhibitions and art collections on the subject of #BlackLivesMatter gave me proof that art and artists can spark society’s conscience and need more and more to deal with burning and current issues. Hence, what I would like to see as a consequence of this is a strengthening of artists’ collaboration and networks around the world on other issues and problems still present in our society, but too often forgotten.
Ayoola Gbolahan (Nigeria)
How has the Black Lives Matter Movement influenced you in your work and you as an artist?
It emphasizes the resilience of the black race but personally highlights for me the need for an internal black renaissance in opposition to the dominant Anglo/Caucasian narrative and world view. Currently, my imagery is dark. I am conscious of the need to produce and promote art that protects the race and elevates us psychologically to a united space. I’m seeing and using stark colors like black, white and grey – with blue and gold highlights – to capture this particular mood.
What changes would you like to see in the artworld as a consequence of this?
Of course, I would like to see the establishment of more black art institutions. I’m interested in the return of looted artifacts, which are not only images of beauty, but are also packed with spiritual power. They are reliquaries of our ancient history which would act as a catalyst of sorts for us if looked upon by the descendants of the original artists. It will help us connect with our lost and rewritten identity.
“Evil in the world has no end.”
What would you like others to take from this?
Abuse of power and exploitation of others is a natural human condition. Be unapologetically black and realize that whatever we choose to take for ourselves is our right and won’t be handed to us easily.
Courtney Minor (United States)
How has this movement influenced you in your work and you as an artist?
The recent events in the USA have influenced my work but in a different way than some might think. It brought forth a lot of past memories where I personally was made to feel less than, because I was a black woman. It reminded me of all the times I was treated differently or told I was not a “cultural fit”. I recalled all the stories and pained faces of my relatives who suffered during the Civil Rights Movement. The atrocities of segregation, the exclusion due to colorism, the constant need to work three times as hard just to be seen – all of this bubbled to the surface with the recent events. My emotions were all over the place. I wanted to cry, scream, and laugh hysterically all at once. So in those moments I chose to transfer my emotions to the nearest canvas.
What changes would you like to see in the artworld as a consequence of this?
I just wish we could use an eraser on where hate, discrimination exists. I would hope to erase the long buried stereotypes and unconscious biases of everyone on this planet. We could all live peacefully with one another if we didn’t constantly divide on differences versus appreciating the melting pot that is humanity.
What is the most important message for you that you would like to communicate to others?
Be comfortable with being uncomfortable. It is the only way you will grow & evolve.
“I am not sure change will come to this world but if each individual decided to try their best to see the individual, I do think this world would become a better place.“
Temi Wynston Edun (Nigeria)
How has the Black Lives Matter Movement influenced you in your work and you as an artist?
The recent awareness and consciousness of systemically entrenched inequities in society brought on by the Black Lives Matter movement has only served to reemphasize to me the importance of staying true to the message in my practice as an artist. My work has sought to elevate and normalize the culture and countenance of people of the African diaspora by investigating and highlighting the rich culture and history within. So, without a doubt in the current climate, I am presented an opportunity where work like mine is being sought out by a society that seemed, at best, somewhat ambivalent, and at worst, sometimes hostile and dismissive of ideas that did not fit a particular aesthetic or narrative.
What changes would you like to see in the artworld as a consequence of this?
This of course leads to a desire on my part for a more inclusive art world that recognizes and lauds a diversity of ideas and is willing to showcase and promote these different points of view.
What would you like others to take from this?
My work is an affirmation of the equality and value of Black or African culture, heritage, and identity.
In lieu of a kingdom [circa 1884/85] (2020) 
You Look African II (2020) 
Whitewashed Walls (2019)
Marcarson (United States)
How has the Black Lives Matter Movement influenced you in your work and you as an artist?
Honestly this “movement” has not really influenced much in my works, this new found conscience that everyone has developed on this topic is not inspiring because it should have been a normal thing to do in the beginning.
What changes would you like to see in the artworld as a consequence of this?
I would love to see more respect and opportunities for POC (people of color) in the art world. Great work is great work. Undermining it because a person is not white should no longer be accepted or tolerated.
What would you like others to take from this?
I can share one of my favorite quotes that inspired this series by Tennesse Williams: “a prayer for the wild at heart kept in cages” .
