Janiece Lincoln for AfricaInAmerica: Reprise | 12.17.12

D.A.D (Part One) © Anthony J. Thomas. Photography by t.mckenzie.

D.A.D (Part One) © Anthony J. Thomas. Photography by t.mckenzie.

Monday night, December 17, offered a gift of creativity when Anthony J. Thomas, also known as TheBedStuyDandy offered an exhibit for the public. The exhibition paraded six pieces, all of which are titled under AfricaInAmerica: a project projecting Thomas’s interpretation of survival, in the rigid fragility of the American “religion”.

The room was gilded with cardiac hues of inspiration, appreciation and continuous creams of intoxication. What would we have without that?

Anthony J. Thomas proudly boasts a brilliant use of various mediums throughout his series release, and equal inspiration for each concept.

Charlotte’s Webe. 

The first, Charlotte’s Webe utilizes Acrylic, Encaustic, Wood and burned canvas to convey the deteriorating, paranoid nature of Thomas’s collection. Conceptually, the artist captures the role and functioning of the NYPD through the techniques of Pablo Picasso (PNYPD), Salvador Dali (Dali’s Remembrance), Henri Matisse (Matisse Didn’t Show Up).

In the collection of three, you find a double-sided canvas and possibly one of the most dynamic pieces of the night, is filled with brush strokes of genuine intent and personal relief. You find “I Love You,” inscribed in the corner of a burned anecdote of canvas, of “Matisse Did Not Show Up” which is a personal note for a loved one lost. The artist relays the social connotation of the filth and pig-like nature of the New York Police Department to the famous children’s story, “Charlotte’s Web.” The collection title’s name, “Webe,” translates to soul in a native African language.

D.A.D  (Diptych).

D.A.D is a heart-gripping diptych consisting of two parts, showcasing the artist’s adamant search for a connection with his biological father. D.A.D (Part One) transmits a personal message, centered mid canvas to his father: “Do you still remember me, Dad?”

D.A.D (Part One) of the diptych is divided into three parts, with the first richly grafted with deep hues of blue, indigo, and the artist’s favored hue red. The second holds a crudely drawn face of the artist, with a wooden block, consuming most of the portrait’s central area. Lastly, the third section reveals a myriad of items drowned in red from broken glass, wine corks, and images of high fashion models to name a few.

D.A.D (Part Two) showcases ceramic on large scaled wood panel, as an anecdote of the relationship between the artist and his father, in a distorted family portrait. A rustic, red drenched hand sits in a traditional picture frame motionless, in the center of the canvas surrounded by fragmented materials.

AfricaInAmerica (Untitled).

Most popularly, the exhibit housed AfricaInAmerica (Untitled) depicting an “American” flag of mixed media. The eleven stripes represent the most impoverished and dangerous African American cities, in the United States to date.

Why We Were Carried.

Why We Were Carried is an installation consisting of two wooden chests, chained together draped in thoughts, concepts and bold colors, creating a dialogue of impulsivity with the viewer. The chests are battered and according to Thomas “his physical interpretation of a slave ship and the emotions, that traveled across the water in another man’s pursuit”.

Academic Travel.

Last, Academic Travel, features a personal biography of the artist with five bold strikes strategically placed.

The night truly celebrated not only the talent of TheBedStuyDandy but it highlighted the authenticity of the man behind the canvas, Anthony J. Thomas.

Wondering where the photography lies huh? Try the artist’s portfolio:
Supple Offering: http://suppleoffering.tumblr.com/

Well wishes…@JanieceLincoln

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