The Biscuit-July 18, 2024

Art and Reflection: A Creative’s Experience at Whitfield Lovell: Passages

Whitfield Lovell: Passages took me on a journey.

It is detailed and personal. It was thought-provoking and engraved in my mind. I recommend everyone see it while they have the chance and immerse yourself in the show and each piece’s story.

Passages is a visual exploration by artist Whitfield Lovell of African American history and culture as expressed in immersive exhibits that contain works from several of the artist’s past installations … and one from the future: Deep River (2013), Visitation: The Richmond Project (2001), Kin (2008–2011) and Spell Suite (2019–2020), as well as the premiere presentation of his forthcoming Card Pieces II.

Passages opened in the Mint Museum Uptown at the end of June on June 29 It will remain on display until The exhibit will be open to the public until Sunday, Sept. 22 with numerous activations with the artist and tours available.

My Experience

On the opening day of the exhibit, I was instantly pulled into the first room of the exhibition on the third floor of the Mint Museum Uptown.

I was greeted by the initial pieces of Kin (2008–2011) – works on paper and panels covered in portraits of Black men and women, each paired with a found item, who stared back at me as I walked through the gallery.

Who were they? What did they do? There was no immediate context for any of these questions, so I felt encouraged to answer for myself. I let my imagination wander and develop narratives about each face – mother, father, friendly neighbor, child on the playground, parade attendee. I felt like I knew many of them already.

An Immersive Exploration

The most striking installation on the third floor is Deep River (2013) – an entire room bathed in the projection of water lapping on four tall, long walls. It also includes an audio/visual installation of barrel lids of various sizes featuring portraits of Black people, men and women, encircling a pile of mulch, dirt and laid objects. From the start, the exhibition pulled me in deeper and deeper.

I was drawn to the pile of dirt, mulch, sand and gravel in the center. It was covered in lanterns, boxes, metal tools and the like … and I questioned where I belonged in this installation.

Was I at the water’s edge or at the bottom? Contemplating each portrait, the audio overhead combined with the visuals of the ocean, I was brought a wave of melancholy and realization.

I was at the bottom.

Whether I had sunk there with ancestors who chose water over enslavement or who were forced overboard, I was there with each person. Each artifact. Each barrel a generation — a line that I would or could never find.

Following the Music

After exiting the third floor, I knew I had to see where else this story, this narrative would lead.

Making my way up to the fourth-floor installation, I walked into the beginnings of Card Pieces II.

Visitation: The Richmond Project (2001), is set up as living quarters left in waiting for its owners and inhabitants to return. Several portraits are drawn directly on the wall.

Sheets of music, articles and newspapers, a radio, and common household items surround a dining room table. It is incredibly small, nearly claustrophobic, only holding three viewers at a time. I felt like an intruder – respectfully observing, but knowing I was never welcomed here.

I recognized that this home was made with what was given – what could be afforded, what was provided and what was allowed.

The passage toward new inspiration

As I left the home, music on the jukebox followed me. I found myself wondering if I had truly been invited inside what felt so personal and loved or if I was violating the sanctity of the home. Then, I remembered that most Black folks, at the time and today, never quite have the same respect in the first place.

I left the museum lost in thought and the following days found myself inspired to readdress my work and to investigate my practice more.

Lovell’s ability to snatch the attention of viewers within his installations and force them to look is remarkable. He challenges viewers not to look, but to see.

Great art sparks internal conversations. It finds its way into conversation with others. Our pursuits as creatives, regardless of our mediums, styles, experience or expertise, we should consume and interrogate works that are different from ours and force us to be critical in how we analyze our works.

I encourage you, from one creative to another, to see Passages now. Take your time walking through every installation and piece of the galleries. Not every work must challenge you to examine your relationships with oppressive systems. This one does.

Experience the show and reflect. Write in your sketchbook. Share your thoughts on social media. Sharing your thoughts about someone else’s work will help you figure out how to express your thoughts on your work.

MAKE THE PASSAGE

Whitfield Lovell: Passages is open to the public through Sept. 22 at the Mint Museum Uptown, with numerous activations and tours available. CLICK HERE.

PRO TIP: See Passages as soon as you can. Then, take advantage of these FREE opportunities and every Wednesday night starting at 5 p.m. to experience this beautiful exhibit again.

This batch of The Biscuit was sponsored by The Mint Museum. A portion of this sponsorship will be used for a H.U.G., a $250 micro-grant awarded to a creative working in the Charlotte area.

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