The Making (sewing) of Borderlines#2 from Nyugen Smith on Vimeo.

Borderlines #2(Detail)

This was a labor of Love. Tearing 24 x 28in drawing paper into random shapes, Drawing all of the little Bundle Houses on the torn sections of paper, then putting them together like a puzzle and gluing the overlapped edges to each other until I had a 5ft x 5ft. square. When that process was complete, the overlapped edges which were now the Borders of each “village” were sewn with perpendicular stitches. Thanks to my wife, my mom and assistant Wenye Fang for getting their fingers pricked over and over while “crossing the borders”.

In 1785 Prince George of Wales fell in love with Maria Fitzherbert, a commoner. Because their love was forbidden, they each had miniatures of their eyes painted for one another, so that they could look deep into them always- without fear of being caught by the royal family. Although he officially married another, he was buried with his token of Maria around his neck. Eye miniatures, or Lover’s Eyes, stayed popular through Victorian times, before fading out of fashion.

WORK TITLE

For All the Loves We lost: Brown Is the Color of My True Love’s Eyes and Skin

Hand-built glazed ceramic, lace, canvas, acrylic, found chain, wire, wood, map pins and paper

L:8 inches X W:4 5/8 inches D:3 1/3 inches

2012

STATEMENT

For the creation of the work for this exhibition (George Hearts Maria), there was careful consideration of the culture of the eras (Georgian-Victorian, 1714-1901) when eye miniature paintings were created and were popular in England and other parts of Europe. The work pays homage to the mothers, sisters, lovers, daughters, and wives who were stolen from their loved ones during the trans-Atlantic slave trade and did not have the opportunity to leave behind a “special token” to be remembered by.   Each material used in the work holds significance as they relate to aspects of the culture of the eras such as fashion, entertainment, and commerce.

*My wife’s eye was the reference for the painting included in the work

EXHIBITION DATES: Opening September 1st, 2012

heliumcowboy artspace GmbH | Bäckerbreitergang 75  | 20355 Hamburg

Untitled Installation (Boat) Found material sculpture, Latex gloves, Earth, Mixed media sculpture (Fouls and Dog), bricks, Gesso, tropical plants, rope net H: 7ft. L: 7ft D:Variable 2012 photo: gabriel fortoul

This performance work presents a historical reflection on issues of race, entitlement, ownership of resources, of people and objects as property.

I am supported in this piece by Ms. Kit Vogelsang. Kit earned a Masters Degree in Performance Studies at Bretton Hall (University of Leeds) during which time she began working with the Bradford Youth Players (BYP). She directed their annual productions as well as conducted their weekly workshops. She continues to perform professionally both onstage and behind the scenes.

This performance reflects on spiritual skirmishes between Africans in colonial/post-colonial West Indies and their European subjugators who were committed to stripping their slaves/subjects of their African spiritual values and practices and indoctrinating them into Christianity. Objects and actions representative of both groups involved in this spiritual war, are used during the incredibly physically and emotionally challenging performance. The performance contains ritualistic experiences, skirmishes with weapons, careful interaction with vegetation native to the area, and viewer participation.

Thanks to: janine berger, christopher villano, meredith noll,

FREE STANDING BUNDLE HOUSES (FS = free standing)

Photos By: NES & Ariel DeAndrea

Video by: Erik Hokensen for Grace Exhibition Space
17mins. 01sec.