Caribbean and Diaspora Art in Harlem

  • December 18, 2015

Caribbean and Diaspora Art in Harlem

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Caribbean and Diaspora Art in Harlem.

Charles Day is a NY based artist whose parents are from Ghana and Jamaica. He is working on a new series of works in a style he calls “Abstractism”. I have attached a few images and a bio for your review.

Jorge Andres Soto Garcia is a painter, printmaker and musician who lives and works in Santiago, Chile. His work normally takes an incisive look at the lives and travails of the city dweller and has political overtones.

Charles A. Dey

ARTIST STATEMENT

As a child, I used to draw on open spaces: tiny shreds of paper, bedroom walls. I’d wake up, chasing stories all around me: the bustle of the busy open market; the tiny cloud of dust that left the road; the constant flow of people passing by me – the sunlight pouring in to greet the morning. My work is my reflection of these moments: life that I have witnessed over time. I thrive in peeling back the hidden layers, filling in life’s movement as it whispers. I get inspired searching for the root – those elements that seem to go unnoticed. This is my foundation as a painter and in my larger vision as an artist.

At night I sit reflecting on my canvas, searching for the muted undertones. I listen to the rhythm found in jazz or in the syncopation of a chord. The colors that I use are juxtaposed, almost like a quiet conversation: a voice that starts out low; then finds a pattern. My tools in many ways are like my compass. My brush helps me create a storyboard: blended scenes – emotions sewn together, gently drenched in hues of watercolor. Most of what I paint comes from traditions: days I spent exploring life in my birthplace in Accra, Ghana and my mother’s country in the enclaves of Montego Bay, Jamaica; the streets I walk down now in urban cities – people that I meet along the way. I find the planted seed inside my subjects – the steady pulse that flows through inner channels. I often show that voice through outward symbols, adding in a link to past and present.

My work projects a world always evolving – a world where vivid contrasts blend together. Depending on the concept or my mood, I may decide to solely work with charcoal; other times I choose to use acrylic, departing from my theme of watercolor. Regardless of the texture I decide on, I aim to show the softness in the detail: the glimmer in a squinted open eye, the titled head that hides a slight discomfort – the legs that stretch to show a weeping soul. Every gesture bleeds from different angles. I revel in highlighting these perspectives.

In my latest piece, “Dot Com Blues,” I illustrate my take on mobile media – the essence of a world in constant motion, which I achieve through color saturation. I channel how the signals link together – to ways we stretch beyond our narrow borders, reaching out – defining current trends. Through this piece and my pursuit of advertisement, I hope to show the memory in art: the way the scenes connect to tell a story – the stories that when told bind us together, despite the ways our lives pull us apart.

477 West 142nd Street Apt. 2, New York, NW 10031

917.600.7543 I Chrldey2000@yahoo.com

Place of birth: Accra, Ghana I Lives and works In: Brooklyn, New York

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Jorge Andres Soto Garcia – BIO

Jorge studied graphic design at Arcos Santiago Institute, Chile. He then furthered his studies in Fine Art at Arcis University. Finally in 2002 he graduated from the School of Fine Art in Valparaiso, with a Masters degree in Fine Art, with minors in engraving and art instruction.

He created a series of photo engravings during a short visit to Tampa, Florida, USA, through a yacht dealer who was also an art connoisseur.

He has participated in a Miniprint contest in Cuba in 2002, and was also a contest winner of FONDART (The National Foundation of Cultura and Arts in Chile) in 2008.

He is currently working on his new material in plastic arts and musical arts.

Concept of the work:

The conception, the corporality, the matter, the fluids, the scratch and the wound are part of the articulation of my concepts facing the format. I feel that my work is a modern extension of the classic works. All these years has been to me like a real test laboratory where pigments and alchemy has defined the madness of the free creation.

The conduction of my characters is created far beyond the popular imagination where there are bribe-treated, fears finished by the hunger, extractions coming from the history of families rounded in their own yards; of conyugal diseases and radiographs of fractured spiritualities.

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