Ebony G. Patterson’s multi-layered works are willfully superficial. The Jamaican artist weaves collectively a mélange of torn papers, tassels, appliqués, and feathered butterflies to create hanging gardens replete with glitter and vibrant hues. “In some ways, I consider the work because the flower and the viewers because the bees,” Patterson informed Nasher Museum. “The bee is first drawn to the flower due to its colour, nevertheless it’s not till you begin peeling again the layers that you just perceive what’s taking place with the nectar.”
Typically set towards wallpaper of her personal design, Patterson’s mixed-media tapestries and smaller works are immersive and charming, inviting research of each particular person components and the way they work together. Hidden beneath the plain attract of wildlife, although, are extra advanced, sinister messages of id, violence, and dying. Likened to “secret poisons,” these inferences relate to the anguish and perpetual mourning many ladies really feel, and in her sprawling tapestry titled “the wailing…guides us house…and there’s a bellying on the land…,” for instance, female arms and limbs try to know for one thing past the entangled mass of jacquard and beads. “Every type bravely assumes a posture of misery, the onerous emotional and bodily labor required to conduct acts of devotion, the soul care that grants permission to confront historic and inherited traumas,” a press release says.
Patterson lives and works between Kingston, Jamaica, and Chicago, and she or he’s included in a number of upcoming exhibits: What’s Left Unstated, Love opening on March 25 on the Excessive Museum in Atlanta, a solo exhibition at Hales Gallery working from Might 5 to June 18, and this November, on the Museum of Up to date Artwork in Chicago. Till then, you may discover extra of her elaborate works at moniquemeloche, the place she’s represented.
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