Mickalene Thomas USA, b. 1971
Interior: Zebra with Two Chairs and Funky Fur, 2014
Relief, intaglio, archival inkjet, collage, enamel paint, colored pencil
43 x 53 in
109.2 x 134.6 cm
109.2 x 134.6 cm
Edition 21 of 24
5714
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Visual elements in this multi-media collage by Mickalene Thomas evoke mid 20th century interior design and fashion—references to the environments in which Thomas grew up. Hints of a Post-Impressionist compositional...
Visual elements in this multi-media collage by Mickalene Thomas evoke mid 20th century interior design and fashion—references to the environments in which Thomas grew up. Hints of a Post-Impressionist compositional strategy and color palette in this piece subvert art historical tendencies to place Black culture in an anthropological context. This picture celebrates the richness and beauty of textures, patterns and colors that the artist associates with Blackness, femininity and sexuality.
Conceptually, collage is about representation and contextualization—what is allowed to be seen versus what is covered up, and how a constructed or manipulated images is perceived and understood by a viewer. Mickalene Thomas’s collages embody the effort to build spaces of beauty and contemplation in which Black femininity and sensuality can be represented and contextualized in confident, joyful, celebratory ways, free from the limitations of history and the majoritarian gaze. Thomas’s process of building a final image always begins with source photographs, which are collaged together with other materials within an evolving pictorial space. She then re-collages the collage until concept, materials, subject, and image coalesce. That final image might then be translated further into an oil painting. A crucial material difference between the collage and the painting is that the collage literally contains a history of its own making, hidden among the layers. Thomas has even described her oil paintings as never completely satisfying in themselves. “I always felt like I had to put something on it or it was never finished,” she says. Using chopsticks to add rhinestones onto the painting’s surface is one way she continues adding literal and metaphorical layers to the final image.
Conceptually, collage is about representation and contextualization—what is allowed to be seen versus what is covered up, and how a constructed or manipulated images is perceived and understood by a viewer. Mickalene Thomas’s collages embody the effort to build spaces of beauty and contemplation in which Black femininity and sensuality can be represented and contextualized in confident, joyful, celebratory ways, free from the limitations of history and the majoritarian gaze. Thomas’s process of building a final image always begins with source photographs, which are collaged together with other materials within an evolving pictorial space. She then re-collages the collage until concept, materials, subject, and image coalesce. That final image might then be translated further into an oil painting. A crucial material difference between the collage and the painting is that the collage literally contains a history of its own making, hidden among the layers. Thomas has even described her oil paintings as never completely satisfying in themselves. “I always felt like I had to put something on it or it was never finished,” she says. Using chopsticks to add rhinestones onto the painting’s surface is one way she continues adding literal and metaphorical layers to the final image.
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