‘Black Migration’ w/ Jamelle Wright Sr. ft. Ramekon O’Arwisters @ Patricia Sweetow Gallery

August 25, 2023

In a dazzling affair of sculptural affirmation, Mssrs. Jamelle Wright Sr. and Ramekon O’Arwisters demonstrate a self-reliant outward expression of African-American culture at Patricia Sweetow Gallery, in a way which mollifies with distinct paragonal perspectives of restless energies.

For to be clear, the affirmation of life presupposes the affirmation of fine art – of that outward expression of beautiful necessity for tasting more sunlight which gives the soul of those uniquely impressed a new need to see.

It is from this premise that these fine artists introduce exceptional contributions to American Culture.

From on the one hand we have a contained guarded frenzied stability, the other a new found idea of optimism and therefore of hope.

For with hope there is the certainty in the will of the person of the expectation of better-than-this. Better than-now. Future perfect.

And what a statement to this positivity through the introduction of jubilant colors which slapstick across the hasty though sturdily strung and hammered bundle of joy for what the world to come will bring. This ensemble of bundles affirms that American spirit from a necessarily unique perspective in successfully answering the question: what exactly is the American ideal?

The absence of fearful anxiety – that the haste which is formed has that added bounce of gleeful destiny of celebration, of knowing what the good life tastes like because the good is motivated by one’s own harmless desires – is the true nobility of this ideal representation of good-spirit. Of a society which needs, indeed is lawfully ordered to secure, this motivation forever. Is this not the ideal state of man? When does it therefore arrive? By allowing people free will choices, as is testimony to the 20th century’s morseling of African-American humanistic excellence.

With Ramekon O’Arwisters, there is a qualified apprehension towards the protrusion of plastics which resemble the links down penitentiary roads of the invisibly downtrodden. The handcuffing of a juicy goodness informed by the ceramic on the inside of the works gives that affirmation to a defensiveness, a hostility, to unnecessary and therefore unfair encroachment upon perfect innocence of those seeking to extend outward toward their natural rights to achieve goals. That unjust wardens do not liberate but only confiscate this indestructible goodness affirms the careful, circumspect, tonality of black which the artwork is lathered in.

The confidence demonstrated is in being so prudent with the balance away from dirge and even of nausea, towards a higher cerebral appeal and therefore invisible ordering. This order is of nothing passionately experienced as downtrodden or defeatingly vandalized, but is instead a wisely visualized with a newfound use of black media – as a universal acclaim of life over the forces which deny human life existence and its potential for perfection.

To use black in this light, with strength yet masterfully void of saturnine emotions, affirms a universal idea of being alive – to be alive at one’s truly best. This is a nobler determination of taste than affirming the meagerness of living; one that is crippled, dampened, negated by uncontrollable fate. It is a brilliant artistic choice and achievement. The lack of deathly weight is successfully achieved, and instead, a glaring pose, much akin to Picasso’s Les Demoiselles d’Avignon (1907) lingers within the labrythine chaotic urge: Do you or do you not strive for justice on earth?


For more information please contact the gallery:

Patricia Sweetow Gallery

Phone: 213-265-7471
Email: contact@patriciasweetowgallery.com

Address: 1700 So. Santa Fe Ave. Suite 351
Los Angeles, CA 90021


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