WALKING THE EARTH AS IF I HAVE THE RIGHT TO BE HER
Walking The Earth” is a visual art installation of mixed media works by artist Lourdes Bernard which will be on view during her Open Studio at the Erdman Center at Princeton Theological Seminary on April 22, 4-7pm. The works were completed during Bernard’s OMSC artist residency at PTS. The installation of figurative works also includes a series of non-representational drawings inspired by the planet Saturn. The images share overlapping themes and they are in conversation with each other . The installation “Walking The Earth” primarily centers women as individuals and within a community. All the works reference literature and language as narrative inspiration and as visual media where text is sometimes incorporated into the work. The title of the installation comes from the piece “Walking The Earth As Though I Have the Right to be Here” from this James Baldwin quote:“It took many years of vomiting up all the filth I’d been taught about myself, and half-believed, before I was able to walk on the earth as though I had a right to be here.” This particular work is a “Rückenfigur” (“figure from the back”) and invites the viewer to experience the figure’s perspective, emotional state and journey as she walks on her path with her back towards the viewer. This allows the viewer to be a participant and as a visual device it creates a mysterious tension. The back of the figure also becomes a portrait that embodies a shared and universal experience and this is again echoed in the small self-portrait “Portrait Of the Artist as a Young Girl”.
The subject’s gaze (or lack of gaze) is a common thread and in “Nou bèl. E nou la!” the women are fully frontal and face the viewer reclaiming and redefining the poignant vernacular call and response greeting from Haitian women Nou Led, Nou La! which was born out of hundreds of years of colonial, authoritarian and ongoing U.S. imperialist oppression.Here the greeting “How are we today, Sister? We are ugly, but we are still here” is changed to “We are beautiful but we are still here.” Showcasing this history is an urgent invitation to alter the course of US policies that continue to deepen the suffering in neighboring Haiti today where the US is poised to invade yet again.
”Dominican Guernica”*
"The Women of April:Past is Prologue" is a new monumental mixed media series and is Part #3 in a trilogy of research-based drawings and paintings, documenting Dominican migration and diaspora,the April 1965 US invasion of DR, and The Women of April. One mixed media work, “Dominican Guernica”, memorializes civilian Dominican women who participated in battles during April 1965. In the tradition of history painting “Dominican Guernica” is a monumental graphite drawing which is 7’-0”high x 21’-0” long, uses the historic battle at “Puente Duarte '' depicting portraits of the women in battle and serves as a counter narrative to erased history. Several other works from the series were completed including the fabrication of eleven 48” x 33” wood panels designed to be assembled together as a series of historical vignettes architectural in scale and visually active. The horizontal image invites audiences to contemplatively walk alongside this historical visual narrative.
*”Dominican Guernica”is made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
Christ Plays in Ten Thousand Places
“The Congregants”, a triptych, and “Senna The New Theologian” are part of an ongoing portrait series titled “The Icon of Reality” inspired by these lines from the Jesuit Gerard Manley Hopkins’ poem “As Kingfishers Catch Fire” :
“Crying Whát I dó is me: for that I came, Acts in God's eye what in God's eye he is —Chríst — for Christ plays in ten thousand places,
Lovely in limbs, and lovely in eyes not his, To the Father through the features of men's faces"
The portraits are indexical of Divine creativity and its human expression. They are based on sketches made over several hours when each of four OMSC visiting scholars sat and posed for a portrait. The final portrait is a composite pen and ink drawing based on these sketches and made over several weeks as a daily ritual.The process-driven portraits are not idealized and rather reflect an authentic and real humanity as icons that express the sitter’s sacredness here and now.Three of the four scholars provided a prayer that they hold dear and are now written on the portraits in their native language. Together three of the scholars form a triptych and become “The Congregants”. In “Senna the New Theologian” the subject and the pictorial language are in dialogue with the early Christian art of Byzantium Africa, particularly in Ethiopia where Senna is from. “Senna the New Theologian” reminds us that Christianity first flourished in Africa and its earliest and deepest roots are in that continent.
Ringscapes
I saw the planet Saturn for the first time during a visit to the Peyton observatory at Princeton University.The direct viewing experience was impactful. When the astrophysicist at Peyton explained that Saturn’s rings were not just made of gas but were in fact full of shattered moons, comets, “asteroids made of chunks of rock, ice, and metal left over from the formation of our solar system”, some as big as mountains, I was moved to make the “Ringscape” series. These pen and ink drawings depict Saturn’s rings as an imaginary cosmic landscape and a laboratory full of mysterious and unknown forms, continually emerging and in constant motion. The visits to Peyton also inspired “Saturn, Plan View” a painting of Saturn without the rings. Several images in this series were made against the backdrop of the genocide in Gaza and as I worked on these images I found myself returning to Stevie Wonder’s timeless song “Saturn” again and again.
“We have come here many times before, To find your strategy to peace is war, Killing helpless men, women and children, That don't even know what they are dying for
We can't trust you when you take a stand, With a gun and bible in your hand, And the cold expression on your face, Saying give us what we want or we'll destroy”
The works on view in the Open Studio reflect questions which I grappled with during the residency and in the process of making the images even more questions were raised. This is why the lyrics in “Saturn” ring as true today as they did when they were first released. We need to collectively walk the earth as though we all belong here, and perhaps raising our eyes to look at the stars and planets can help ground us in this singular and essential truth.
EXHIBITION HIGHLIGHTS
NEW YORK STUDIO SCHOOL MARCH 14-APRIL 10, 2022
The Alchemist In The City
The Alchemist in The City by Lourdes Bernard
Read More"Flag In A Suitcase" Art and Activism
This installation of "Flag In a Suitcase" was created for a protest rally in support of keeping immigrant families together. When U.S. Immigration and Customs Enforcement (ICE) orders a person deported, they or their loved ones are allowed to pack one suitcase whose content cannot exceed 25 pounds. A lifetime is condensed into a single container and thus this suitcase is a container of both what is lived and what is now unlived as a result of deportation. Each story is depicted as a visual narrative and is linked through movement in a counterclockwise direction around the suitcase.
This 1930's suitcase is from another period of mass deportation when over one-half million Mexicans and their American children who were US citizens, were deported from the USA. The bottom of the suitcase is lined with 65 year-old newspapers with headlines eerily matching our current headlines: war and occupation, racism, and our precarious relationship with Russia.
The battered suitcase reflects our battered and broken immigration policy .These images highlight that many immigrants flee because of war and violence triggered by US foreign policy and by their authoritarian governments at home. The previous administration's animus towards immigrants from Latin America and immigrants of color (few refugees from Afghanistan, Iraq and Syria have been allowed entry into the US) is characterized in several anti-immigrant policies. ICE deportation ends many of the dreams that immigrants now carry back with them as they leave what is familiar behind.
The Dominican flag highlights a quote by Jeff Sessions made on the Senate floor prior to becoming Attorney General in the previous administration. The suitcase acts as a plinth as the flag unfurls out of the suitcase and the images are assembled around the suitcase to create a contemplative space that the viewer may move around. The pastel image drawn on the top of the suitcase depicts the narrative of family separation and detention that characterized the previous administration’s policy at the southern border. As the viewer walks around the suitcase they engage various stories. The counterclockwise movement also echoes the movement of displacement and deportation.
Video shot by Kara Koirtyohann.
ArchiveD Moments: Mom as Muse
Self Portrait
Read MoreMujeres de Abril and the April 1965 Revolution in Dominican Republic
“Tina La Bazookera” by Lourdes Bernard, created for the One House Project.
Read More"War Games"
"War Games" Photograph by Rodrigo Moya taken during the April 1965 Revolution/American invasion of Dominican Republic.
Read MoreArchived Life: The Sketchbook
Several years ago I came across the sketchbooks of Horace Pippin and it was the first time I was struck by how weighty and real sketches can be. The power of the image was in their content and the content was the first World War. Pippin gives us images of explosions during battles, of soldiers hiding out in trenches and planes flying overhead.....What I saw in these images influenced the way I composed my sketchbooks.
Read More