Winged Evocations 1998
Kinetic Installation at Allen Art Museum, Oberlin, Ohio, 1998
Material:5 Steel armatures, 5 pine cone embellished mens suits, rawhide, duck feathers (down), 5 gearmdotors, motion sensor, 5 bronze life masks of the artist's face
Detail View of Winged Evocations 1998
Detail View of the Installation work, Winged Evocations, 1998
Winged Evocations, 1998
At Emison Art Center Gallery, Greencastle, Indiana, Aug 29 –Oct. 2, 2001.
Winged Evocations, 1998, Havana, Cuba, 2000
Winged Evocation at the Havana Biennal at the Cabana & El Morro Fortress. Jamaica's representative to the November 2000 Havana Biennal, Havana, Cuba.
Detail of the Installation Winged Evocations
Materials: Leather Jacket, Giant Pinecones, Cotton Jeans Trousers, pinecones.
Detail from Winged Evocations in Havana, Cuba 2000
Another Hard Question, Paper boats from (Inside The Company) book on CIA used to Censor written response of Cuban Artists to Questions posed by the Artist.
Detail from Winged Evocations, 1998, Havana Biennal 2000
Detail of paper boats from Phillip Agee's book on the CIA Inside The Company. The boats are used to censor the responses by Cuban Artists to questions posed by the artists about Cuba. The Cuban curators and military authorities demanded the work be censored.
Detail of installation Winged Evocation 1998
Materials: Duck Feathers, Paper , ink
Feathered Coptic Cross detail from Winged Evocations , Havana, Cuba
Materials:Duck Feathers, photograph
Detail fr. Winged Evocations 1998, at Havana Biennal 2000
Material: Duck Feathers, paper & beeswax life mask of the artist.
Detail of Winged Evocations 1998, Greencastle, Indiana 2001
From exhibition at Emison Art Center Gallery, Greencastle, Indiana
Materials: Formal Straight back wood chair with Embellishments, Elk rawhide wings, Duck feathers, Wood and chain drive gear motor and steel armature.
Throne For the Third Millennium, 2003
This work was funded by the San Jose Museum of Art, for the Exhibition Unfamiliar Territory in 2003
Materials: Formal Straight back wood chair with Embellishments, Elk rawhide wings, Duck feathers, Wood and chain drive gear motor and steel armature.
Throne for the Third Millennium, 2003 with the Artist
Materials: Formal Straight back wood chair with Embellishments, Elk rawhide wings, Duck feathers, Wood and chain drive gear motor and steel armature.
View of the Barbershop from Black Fathers & Sons 1996 at Brooklyn Academy of Music (BAM)
Set of Black Fathers & Sons from the Artist In Action Series of the Brooklyn Academy of Music, a collaborative project with visual artist Johnny Coleman, poet and writer Quincy Troupe and the Performance Troupe the Hittite Empire. The work was performed at the Majestic Theater in Brooklyn, NY.
Scene from Black Fathers & Son, A U.S. Perspective 1996
Scene from Black Fathers & Sons from the Artist In Action Series of the Brooklyn Academy of Music, a collaborative project with visual artist Johnny Coleman, poet and writer Quincy Troupe and the Performance Troupe the Hittite Empire. The work was performed at the Majestic Theater in Brooklyn, NY.
Baptism by Fire, Scene from Black Fathers & Sons 1996
Kwabena Slaughter in Scene from Black Fathers & Sons from the Artist In Action Series of the Brooklyn Academy of Music, a collaborative project with visual artist Johnny Coleman, poet and writer Quincy Troupe and the Performance Troupe the Hittite Empire. The work was performed at the Majestic Theater in Brooklyn, NY.
Detail from Yin Yang, US,Them, 1993
At the Bronx Museum, Bronx, New York
Marker For A Violated Gravesite 1993
Materials Wood, 100 pounds of nails, coconut shells, candles,
Yin Yang Us Them, 1994, Tejuana, Mexico
Materials: Apples & Oranges, coconut shells treated to becomes vessels that contain rum.
This work seeks to seeks to reconcile and illustrate the notion of difference as complimentary using the ancient Chinese Taoist symbol of duality to create a fruit mandala playing with the popular expression 'As different as Apples & Oranges'
Yin Yang Us Them 1994, Tejuana, Mexico
Materials: Apples & Oranges, coconut shells treated to becomes vessels that contain rum.
This work seeks to seeks to reconcile and illustrate the notion of difference as complimentary using the ancient Chinese Taoist symbol of duality to create a fruit mandala playing with the popular expression 'As different as Apples & Oranges'
Yin Yang Us Them, 1993, at Bronx Museum of Art, Bronx, NY
Materials: Apples & Oranges, coconut shells treated to becomes vessels that contain rum.Photographs with copper mats, Embellished wood chairs, embellished shirt & vest, Cowry Shells,
This work seeks to seeks to reconcile and illustrate the notion of difference as complimentary using the ancient Chinese Taoist symbol of duality to create a fruit mandala playing with the popular expression 'As different as Apples & Oranges'
Detail from an exhibition at Sangre de Cristo Arts & Cultural Center, in Pueblo, Colorado, USA
Materials: Suspended Throne, Nigerian Longhorns, feathers, photographs with inscribed copper mats.
Sunday Dinner For The Ancestors, 1991
Materials: Rocks, duck feathers, altered & Embellished wood chairs, wood table, with copper table covering, candles, dinner plates with food, cigars glasses with rum, gin & water
Solo exhibition at Southwestern Community College Art Gallery, in San Diego, California, USA
Sunday Dinner for the Ancestors, 1991
Materials: Rocks, duck feathers, altered & Embellished wood chairs, wood table, with copper table covering, candles, dinner plates with food, cigars glasses with rum, gin & water
Solo exhibition at Southwestern Community College Art Gallery, in San Diego, California, USA
Sunday Dinner For The Ancestors, 1991
Materials: Rocks, duck feathers, altered & Embellished wood chairs, wood table, with copper table covering, candles, dinner plates with food, cigars glasses with rum, gin & water
Solo exhibition at Southwestern Community College Art Gallery, in San Diego, California, USA
A Substitute Sacrifice, 1990
The first large scale installation I created was inspired by the culture wars that ultimately censored and defunded the arts in the USA. Andres Serrano's Piss Christ ignited a firestorm of rage against the visual arts by the religious right. This work inspired me to ponder the power and function of religious symbols such as the Crucifix in society and its connections to the trans Atlantic slave trade in which the christianizing of the enslaved Africans was seen as one of the justifications for slavery. With this work the 100 pounds of feathers are the symbolic number and representations of fowls that would be required in a blood sacrifice to be offered to cleanse and redeem the symbol of its use for the oppression, enslavement and destruction of Africans.
Detail of installation work A Substitute Sacrifice, 1990
Materials: Wood Beam, goat hide, cowry shell & giant pinecone part
Detail from installation 1990
Materials: 100 pounds of duck feathers & down, Wood side table, wood box with accordion book.
Detail from Substitute Sacrifice 1990
Materials: Rocks, Photograph, duck feathers
Extremes, Kaohshiung International Container Arts Festival, Kahoshuing, Taiwan, 2001
2001 Extremes of Violence, Extremes of Religions, (tribute to the victims of WTC Tragedy in form of thousands of Paper Airplanes. Kaohshiung International Container Arts Festival, Kaohshiung, Taiwan, R.O.C.
Materials: 3,000 paper airplanes with the names of the victims of the World Trade Center attack in Mandarin Chinese.
Detail of photography exhibition at the now defunct Ansel Adams Center for Photography, SF, CA
View of Substitute Sacrifice Installation 1990