It’s amid the best constant tales of deception: Eve and Adam’s banishment from the Garden of Eden afterwards bistro the banned fruit, the aboriginal sin. In Ebony G Patterson’s better analysis to date, the alloyed media artisan analogously lures admirers into her intricately composed ‘night garden’, area a abounding affectation of glitter, lace, beads, bolt flowers, tassels, brooches, gold thread, apparel jewellery and artificial ornaments belies the atramentous capacity buried within.
On appearance at the Pérez Art Museum Miami (PAMM) until 5 May 2019, Patterson’s site-specific accession forms the arresting accomplishments to 13 of the artist’s all-embracing works that accommodate video, drawings, and tapestries, about bisected of which are new commissions for the show. The ambience en scène is endlessly detailed, from the twilight-hued bolt wallpaper to vegetal growths beginning from the walls and cottony leaves, flowers, and accouterment spilling from the beam and framing paintings.
…they stood in a time of unknowing… for those who bear/bare witness, 2018, by Ebony G Patterson. Courtesy of the artisan and Monique Meloche Gallery, Chicago
‘For about bristles years I’ve been exploring the abstraction of the garden as both absolute as imagined, acknowledging its accord to post-colonial spaces. I am absorbed in how area accomplish as sites of amusing demarcation,’ states the Kingston-born artist. ‘I investigate their accord to beauty, dress, class, race, the body, land, and death.’ Patterson’s neo-baroque works analyze violence, atramentous blank youth, masculinity, ‘bling’, afterimage (and by addendum invisibility) aural the ambience of her built-in Jamaica.
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In …moments we cannot bury… (2018), a alternation of close flowerbeds are covered absolutely with cottony replicas of absolutely poisonous breed including bird of paradise flowers, daffodils, lilies of the valley, and hyacinths. ‘She presents area as sites of splendour, danger, and burial,’ explains PAMM arch babysitter Tobias Ostrander ‘These artworks clear beef and outrage, an ethical acrimony and analytical complaining apropos abandon perpetuated adjoin these bodies globally. Yet their ire is choleric by the artist’s use of floral apery to accord honour and address on her subjects, shrouding them in beauty.’
Patterson’s blooming creations bent the eye of artisan Christian Louboutin, who is abetment the PAMM exhibition (the artisan created a carpeting for his bazaar during Miami Art Week). Having about become a mural artisan himself, Louboutin shares a appropriate affection for area with the artisan and the Miami appearance is decidedly resonating. ‘The aphotic [wallpaper] reinforces article which is associated to area and abundant places: the smell,’ explains the French designer. ‘Smell is actual important back you access in a abode area you’re amidst by plants, whether it’s rotten or abundantly ambrosial – there is consistently this presence.’
Patterson’s work, too, is absent with fashion. Suspended from the beam at PAMM, …stars… (2018), a all-inclusive ‘cloud’ of hundreds of women’s shoes broadcast in atramentous beam recalls cossack strung up aerial up on electrical affairs – a accepted convenance by gangs to mark out territories that the artisan has regendered for the show. ‘She is the absolute archetype of addition who takes attributes and manipulates it in her own way in adjustment to actualize admirable pieces,’ adds Louboutin. ‘Saying that, there is a altered band to her assignment – it’s additionally anchored with political messages, and the accent of community.’
Intended to be apparent as the closing assignment of the show, Three Kings Weep (2016-17) depicts a leash of atramentous men in advanced of a floral background, acutely boring bathrobe themselves in busy costumery. In fact, the video is actuality apparent in about-face and the men are disrobing. The blackout in the eight-minute video is brindled with the articulation of a adolescent man reciting curve from the 1919 composition If We Must Die by Jamaican artist Claude McKay. In the era of post-truth politics, Patterson’s admirable lie is a apricot bolus to swallow. §
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