We Accept
 

 

Symbolism is evident in many of my paintings and drawing derived from experiences with African traditions.

My symbols tend to be more personal and unconscious rather than planned, even though they seem to have meaning for others a lot of the time. For me, an image may be symbolic but it must be comprehensible by most viewers.

I attempted to produce images that are universal and concentrated within the pinnacle of black life experience worldwide. They are committed to portraying a universal theme, making a statement, or relating a story of the lives of non-whites that deals with such emotion as: loneliness, isolation, love, happiness, pride, faith and non faith, defiance, anger, anguish, fear, weakness, dreams, despair and above all strength and dignity.

Furthermore, my works is designed to propagandize and historically document the black experience. I'm painting black "racial types" and describing the life of African people in "realistic" terms wherever they may be geographically. The artist of african descent and African people as subject matter has been systematically ignored in larger spectrum of western society in its art anthologies, museums, galleries and critiques.

I'm a virtual expatriate from the United States spending an inordinate amount of time in the African culture that is Haiti. Reclaiming that which is mine. I first traveled to Haiti over 20 years ago. The sensuality that is the extraordinary mountains, the indigenous plant life, the women and the visual reality is overpowering. Color and fragrance is pervasive.

It is an unrestrained self-gratification that is erotic and exotic. It is the essence of Haiti. It is either, to you as a participant, totally infectious or you are "turned off" completely. There is no middle ground.

The Haitian environment is immersed with rich mystical fragrances of Africa fettered by that which is called voodoo - a set of beliefs about spirits, good and evil, life and death. It contains functional views of work, everyday reality, relationships, making love and religious symbols. It is an intrinsic part of the moral and political fiber and structure of Haiti.

As a working artist frequently living and participating in the African Haitian experiences it commences to permeate your work and at times begins to dominate your activities. Forces of a non-material nature assume great importance.

Finally, I wish to conclude by stating this. There is an old concept of "art for art's sake". I discard this as not pertinent. Art is a means of making people more cognizant of their historical origins and the vitality of their own culture.

James Brown