Beach Beauties Matching, 2018

Mixed Media

18 x 24 in.

45.7 x 61 cm

AW005

$ 1,600.00 USD

Digital Collage Giclee. Dr. Antoinette Ellis-Williams is Chair and Professor of Women’s & Gender Studies at New Jersey City University where she teaches: Women, Hip Hop Spoken Word & Social Change; Women & Leadership; Race, Class, Gender Activism; Diversity & Difference; Black Womanhood. Dr. Ellis-Williams is a mixed abstract media artist, and poet. Her solo visual exhibit Girlhood/UnDone (October-November 2017) showed at NJCU. She is the author of Black Gardenias: A Collection of Poems, Stories, & Sayings From A Woman’s Heart (Semaj Publishing, 2013). Dr. EllisWilliams is a playwright and actor. Her one woman play Scarf Diaries premiered at NJPAC in 2017. Ellis-Williams is an award-winning filmmaker. Her documentary Lee Hagan: Connecting Generations (2016) won best short documentary at the Newark Black Film Festival. She is a highly sought after international public speaker and lecturer. Her TedX Talk Finding Justice in the Land of the Free (2015) tried to unpack her immigrant status in America. Dr. Ellis-Williams is a minister at Bethany Baptist Church in Newark where she calls home. She is a member of the board of trustees for the New Jersey Institute of Social Justice. Dr. Ellis-Williams earned her Ph.D. in Public Policy & Urban and Regional Planning. Immigrant. Mother. Wife. Citizen. Black Woman of God. Sister. Daughter. Grateful. My creative process is based on the idea of layering, recycling, reimagining, and mixing methods. Mixed media abstract collaging is at the heart of the process even when doing conceptual work. I am constantly searching beneath layers for hidden messages and light. For example, in some of my work I combine my original work (acrylic and watercolor paintings, silk batik, digital photos, and drawings) with print and digital images found in magazines, newspapers, brochures, textiles, cards, and/or various objects. The image continues to evolve, shifting as the sociopolitical and cultural road map changes. My work explores the layers of my own identity---blackness, girl/womanhood, mother, wife, and immigrant---in the context of popular culture, power, politics, religion/faith, history, music, social movements and socioeconomics. The work is a commentary on the textured lives of marginalized people. I create pieces as a way of unpacking rage, pain, contradictions, beauty, agency and joy constantly trying to understand the complex history and narrative of blackness in the United States and black the diaspora. Social justice themes emerge in my work. Black Beauties: There is power in the sea and beach. This multi layered digital collage uses original photos and sourced imaged to show the boldness and beauty of African girls. But their power is connected to the sea. When must reclaim and reconnect with that power.

Available

America, Forbidden Zone, 2020

Mixed Media: Wood cutting, incision, engraving, acrylic and collage of wood and wood dust on wood plywood.

22⅞ x 30¾ x ½ in.

58 x 78 x 1.3 cm

AK-FZ-2020

Alexandre Kyungu Mwilambwe (born in 1992, Kinshasa D.R.Congo) He lives and works in Kinshasa, Democratic Republic of Congo. He studied art at the Academy of Fine Arts in Kinshasa. He is co-founder of the group Vision Total (vi.to) and works in collaboration with Kin Art Studio (KAS). Alexandre Kyungu has participated in several group exhibitions and artist residencies in his country and abroad, to name but a few: In 2020, he recently presented his work in a group show ''Art Off-Screen'' organized by Eileen Jeng Lynch, curator of visual arts at Wavehill in New York. In 2020, he participated in a group show ''Africa Art Auction'' organized by Atim Annette Oton (Calabar Gallery) in New York. In March 2020 his work was included in a group show '' Doors, Eyes and Marks tribal'' at AKKA Project Gallery in Dubai. In 2020, he participated in a group show "trajectory" organized by Charlotte Kotik and William Corwin (Five Myles gallery) in Brooklyn and in the same year he presented his work in the international Biennale of Congo "transition" in Kinshasa, organized by KinArtStudio. In 2019, his work was included in the art fair AKAA Paris by Gallery Angalia. Alexandre Kyungu has participated in numerous residencies: in 2019 at Art OMI in New York and at Bag Factory studio artist in Johannesburg organized by Pro Helvetia. In 2018 Artist in Residence in Basel Atelier Mondial (Switzerland) organized by Pro Helvetia and at the Bloc des Artistes in Cosenza in Italy. Alexandre Kyungu is an artist whose work explores the imaginary between mapping and scarification of the body. He combines painting, drawing, sculpture and installation in his practice as an artist. However, his work explores all ideas of migration and identity, borders and space, signs and symbols. His art practice focuses on issues related to urban space, exploring parallels between urban mapping and body scarification. The medium of choice is the "door", which he attributes to being synonymous with openness, encounter and discovery in an increasingly universal society. His work functions as a "cartographic essay" in which he attempts to construct a new and global world while merging and juxtaposing maps of different cities and the scarification of the body. It is a way for him to question identity, the city and its cartography, to erase borders between peoples and to give birth to a unique territory in the imaginary space of his work. The shadow of the city: a series of works that evokes and questions the areas and spaces of conflict in our system and in the living space we share with each other. The series is composed of a map of different countries, cities and regions in conflict or in danger and a silhouette inverted and posed above a map of cut wood (plywood). She is scarified with the traditional African symbol nzoloko (scarification) and painted with small geolocation symbols in several colors on her body.

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Untitled, 2020

Mixed Media: Wood cutting, incision, engraving, acrylic collage paper and collage of wood and wood dust on wood plywood.

33⅞ x 22⅞ x ½ in.

86 x 58 x 1.3 cm

AK-UN-2020

$ 4,500.00 USD

Alexandre Kyungu Mwilambwe (born in 1992, Kinshasa D.R.Congo) He lives and works in Kinshasa, Democratic Republic of Congo. He studied art at the Academy of Fine Arts in Kinshasa. He is co-founder of the group Vision Total (vi.to) and works in collaboration with Kin Art Studio (KAS). Alexandre Kyungu has participated in several group exhibitions and artist residencies in his country and abroad, to name but a few: In 2020, he recently presented his work in a group show ''Art Off-Screen'' organized by Eileen Jeng Lynch, curator of visual arts at Wavehill in New York. In 2020, he participated in a group show ''Africa Art Auction'' organized by Atim Annette Oton (Calabar Gallery) in New York. In March 2020 his work was included in a group show '' Doors, Eyes and Marks tribal'' at AKKA Project Gallery in Dubai. In 2020, he participated in a group show "trajectory" organized by Charlotte Kotik and William Corwin (Five Myles gallery) in Brooklyn and in the same year he presented his work in the international Biennale of Congo "transition" in Kinshasa, organized by KinArtStudio. In 2019, his work was included in the art fair AKAA Paris by Gallery Angalia. Alexandre Kyungu has participated in numerous residencies: in 2019 at Art OMI in New York and at Bag Factory studio artist in Johannesburg organized by Pro Helvetia. In 2018 Artist in Residence in Basel Atelier Mondial (Switzerland) organized by Pro Helvetia and at the Bloc des Artistes in Cosenza in Italy. Alexandre Kyungu is an artist whose work explores the imaginary between mapping and scarification of the body. He combines painting, drawing, sculpture and installation in his practice as an artist. However, his work explores all ideas of migration and identity, borders and space, signs and symbols. His art practice focuses on issues related to urban space, exploring parallels between urban mapping and body scarification. The medium of choice is the "door", which he attributes to being synonymous with openness, encounter and discovery in an increasingly universal society. His work functions as a "cartographic essay" in which he attempts to construct a new and global world while merging and juxtaposing maps of different cities and the scarification of the body. It is a way for him to question identity, the city and its cartography, to erase borders between peoples and to give birth to a unique territory in the imaginary space of his work. The shadow of the city: a series of works that evokes and questions the areas and spaces of conflict in our system and in the living space we share with each other. The series is composed of a map of different countries, cities and regions in conflict or in danger and a silhouette inverted and posed above a map of cut wood (plywood). She is scarified with the traditional African symbol nzoloko (scarification) and painted with small geolocation symbols in several colors on her body.

Available

Untitled, 2020

Mixed Media

22⅝ x 22⅝ in.

57.5 x 57.5 cm

0 x 0 in. (framed)

0 x 0 cm (framed)

AK-UN1-2020

$ 4,300.00 USD

Wood cutting, incision, engraving, acrylic, collage paper and collage of wood and wood dust on wood plywood. Alexandre Kyungu Mwilambwe lives and works in Kinshasa, Democratic Republic of Congo. He is co-founder of the group Vision Total (vi.to) and works in collaboration with Kin Art Studio (KAS). He has participated in several group exhibitions and residency artist in his country and abroad. Alexandre Kyungu Mwilambwe: the imaginary between mapping and scarification of the body, he combines painting, drawing, sculpture and installation in his practice as an artist. However, his work explores all ideas of migration and identity, borders and space, signs and symbols. His art practice focuses on issues related to urban space, exploring parallels between urban mapping and body scarification. The medium of choice is the "door", which he attributes to being synonymous with openness, encounter and discovery in an increasingly universal society. His work functions as a "cartographic essay" in which he attempts to construct a new and global world while merging and juxtaposing maps of different cities and the scarification of the body. It is a way for him to question identity, the city and its cartography, to erase borders between peoples and to give birth to a unique territory in the imaginary space of his work. The shadow of the city: a series of works that evokes and questions the areas and spaces of conflict in our system and in the living space we share with each other. The series is composed of a map of different countries, cities and regions in conflict or in danger and a silhouette inverted and posed above a map of cut wood (plywood). She is scarified with the traditional African symbol nzoloko (scarification) and painted with small geolocation symbols in several colors on her body.

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Seasons III, 2019

Mixed Media

18 x 18 in.

45.7 x 45.7 cm

PW-SEA-2019

$ 1,500.00 USD

Photograph: Mixed media-Digital image on Paper. P. Wamaitha Ng'ang'a (born 1982) is a Kenyan-British visual artist and photographer based in London, England. Using mixed media and photography, Wamaitha creates works that confront contemporary issues on women and children rights, social, political and environmental issues and cultural identity. She also works with self-portraiture in the realm of art therapy and symbolism communication, exploring the interconnections of nature, spirituality and healing. This process is a personal catharsis and reconciliation of the physical and psychological journey as she deals with her health. She studied Photography (First class BA Hons) and Media, Campaigning and Social Change (MA) at the University of Westminster, England. SEASONS- 2019: Seasons is a mixed-medium project, wherein I seek to depict my personal journey with scoliosis condition and Poland Syndrome. Both conditions became evident in my adolescence years, however, the latter only being diagnosed correctly in 2018.

Available

Seasons VII, 2019

Mixed Media

18 x 18 in.

45.7 x 45.7 cm

PW-SEAS-2019

$ 1,500.00 USD

Photograph: Mixed media-Digital image on Paper. P. Wamaitha Ng'ang'a (born 1982) is a Kenyan-British visual artist and photographer based in London, England. Using mixed media and photography, Wamaitha creates works that confront contemporary issues on women and children rights, social, political and environmental issues and cultural identity. She also works with self-portraiture in the realm of art therapy and symbolism communication, exploring the interconnections of nature, spirituality and healing. This process is a personal catharsis and reconciliation of the physical and psychological journey as she deals with her health. She studied Photography (First class BA Hons) and Media, Campaigning and Social Change (MA) at the University of Westminster, England. SEASONS- 2019: Seasons is a mixed-medium project, wherein I seek to depict my personal journey with scoliosis condition and Poland Syndrome. Both conditions became evident in my adolescence years, however, the latter only being diagnosed correctly in 2018.

Available

Eden'Nosona-6, 2020

Mixed Media

18 x 18 in.

45.7 x 45.7 cm

PW-EDE-2020

$ 1,500.00 USD

Photograph: Mixed media-Digital image on Paper. P. Wamaitha Ng'ang'a (born 1982) is a Kenyan-British visual artist and photographer based in London, England. Using mixed media and photography, Wamaitha creates works that confront contemporary issues on women and children rights, social, political and environmental issues and cultural identity. She also works with self-portraiture in the realm of art therapy and symbolism communication, exploring the interconnections of nature, spirituality and healing. This process is a personal catharsis and reconciliation of the physical and psychological journey as she deals with her health. She studied Photography (First class BA Hons) and Media, Campaigning and Social Change (MA) at the University of Westminster, England. EDEN’ NOSANA- 2020: By coalescing myself with nature on this project helps to remind and transport me to my relationship with the natural world, where I find healing, reawakening and the closer deeper connection with my spiritual journey with God, the Universe and Mother Nature.

Available

Eden'Nosona-2, 2020

Mixed Media

18 x 18 in.

45.7 x 45.7 cm

PW-EDE1-2020

$ 1,500.00 USD

Photograph: Mixed media-Digital image on Paper. P. Wamaitha Ng'ang'a (born 1982) is a Kenyan-British visual artist and photographer based in London, England. Using mixed media and photography, Wamaitha creates works that confront contemporary issues on women and children rights, social, political and environmental issues and cultural identity. She also works with self-portraiture in the realm of art therapy and symbolism communication, exploring the interconnections of nature, spirituality and healing. This process is a personal catharsis and reconciliation of the physical and psychological journey as she deals with her health. She studied Photography (First class BA Hons) and Media, Campaigning and Social Change (MA) at the University of Westminster, England.

Available

Beware of Shadows in the Park, 2020

Mixed-Media

40 x 30 in.

101.6 x 76.2 cm

AW001

$ 3,800.00 USD

Paper and Acrylic on Canvas. Dr. Antoinette Ellis-Williams is Chair and Professor of Women’s & Gender Studies at New Jersey City University where she teaches: Women, Hip Hop Spoken Word & Social Change; Women & Leadership; Race, Class, Gender Activism; Diversity & Difference; Black Womanhood. Dr. Ellis-Williams is a mixed abstract media artist, and poet. Her solo visual exhibit Girlhood/UnDone (October-November 2017) showed at NJCU. She is the author of Black Gardenias: A Collection of Poems, Stories, & Sayings From A Woman’s Heart (Semaj Publishing, 2013). Dr. EllisWilliams is a playwright and actor. Her one woman play Scarf Diaries premiered at NJPAC in 2017. Ellis-Williams is an award-winning filmmaker. Her documentary Lee Hagan: Connecting Generations (2016) won best short documentary at the Newark Black Film Festival. She is a highly sought after international public speaker and lecturer. Her TedX Talk Finding Justice in the Land of the Free (2015) tried to unpack her immigrant status in America. Dr. Ellis-Williams is a minister at Bethany Baptist Church in Newark where she calls home. She is a member of the board of trustees for the New Jersey Institute of Social Justice. Dr. Ellis-Williams earned her Ph.D. in Public Policy & Urban and Regional Planning. Immigrant. Mother. Wife. Citizen. Black Woman of God. Sister. Daughter. Grateful. My creative process is based on the idea of layering, recycling, reimagining, and mixing methods. Mixed media abstract collaging is at the heart of the process even when doing conceptual work. I am constantly searching beneath layers for hidden messages and light. For example, in some of my work I combine my original work (acrylic and watercolor paintings, silk batik, digital photos, and drawings) with print and digital images found in magazines, newspapers, brochures, textiles, cards, and/or various objects. The image continues to evolve, shifting as the sociopolitical and cultural road map changes. My work explores the layers of my own identity---blackness, girl/womanhood, mother, wife, and immigrant---in the context of popular culture, power, politics, religion/faith, history, music, social movements and socioeconomics. The work is a commentary on the textured lives of marginalized people. I create pieces as a way of unpacking rage, pain, contradictions, beauty, agency and joy constantly trying to understand the complex history and narrative of blackness in the United States and black the diaspora. Social justice themes emerge in my work. Beware of the Shadows in the Park: This piece was created after the death of Ahmaud Arbery and when Amy Cooper harasses an African American birdwatcher in a park. It also takes into account the Exonerated Five. I want us to consider our democracy and the ugly parts of racism, sexism, classism, power and privilege.

Available

Praying Women, 2019

Drawing

8 x 9 in.

20.3 x 22.9 cm

AW002

$ 1,200.00 USD

Ink on Paper. Dr. Antoinette Ellis-Williams is Chair and Professor of Women’s & Gender Studies at New Jersey City University where she teaches: Women, Hip Hop Spoken Word & Social Change; Women & Leadership; Race, Class, Gender Activism; Diversity & Difference; Black Womanhood. Dr. Ellis-Williams is a mixed abstract media artist, and poet. Her solo visual exhibit Girlhood/UnDone (October-November 2017) showed at NJCU. She is the author of Black Gardenias: A Collection of Poems, Stories, & Sayings From A Woman’s Heart (Semaj Publishing, 2013). Dr. EllisWilliams is a playwright and actor. Her one woman play Scarf Diaries premiered at NJPAC in 2017. Ellis-Williams is an award-winning filmmaker. Her documentary Lee Hagan: Connecting Generations (2016) won best short documentary at the Newark Black Film Festival. She is a highly sought after international public speaker and lecturer. Her TedX Talk Finding Justice in the Land of the Free (2015) tried to unpack her immigrant status in America. Dr. Ellis-Williams is a minister at Bethany Baptist Church in Newark where she calls home. She is a member of the board of trustees for the New Jersey Institute of Social Justice. Dr. Ellis-Williams earned her Ph.D. in Public Policy & Urban and Regional Planning. Immigrant. Mother. Wife. Citizen. Black Woman of God. Sister. Daughter. Grateful. My creative process is based on the idea of layering, recycling, reimagining, and mixing methods. Mixed media abstract collaging is at the heart of the process even when doing conceptual work. I am constantly searching beneath layers for hidden messages and light. For example, in some of my work I combine my original work (acrylic and watercolor paintings, silk batik, digital photos, and drawings) with print and digital images found in magazines, newspapers, brochures, textiles, cards, and/or various objects. The image continues to evolve, shifting as the sociopolitical and cultural road map changes. My work explores the layers of my own identity---blackness, girl/womanhood, mother, wife, and immigrant---in the context of popular culture, power, politics, religion/faith, history, music, social movements and socioeconomics. The work is a commentary on the textured lives of marginalized people. I create pieces as a way of unpacking rage, pain, contradictions, beauty, agency and joy constantly trying to understand the complex history and narrative of blackness in the United States and black the diaspora. Social justice themes emerge in my work. Praying Women is about sisterhood, faith and love. Black women must search for one another and care for one another if black women are going to survive. We are our own protectors.

Available

Ruby’s List, 2016

Mixed Media

36 x 48 in.

91.4 x 121.9 cm

AW003

$ 3,600.00 USD

Digital Collage on Canvas. Dr. Antoinette Ellis-Williams is Chair and Professor of Women’s & Gender Studies at New Jersey City University where she teaches: Women, Hip Hop Spoken Word & Social Change; Women & Leadership; Race, Class, Gender Activism; Diversity & Difference; Black Womanhood. Dr. Ellis-Williams is a mixed abstract media artist, and poet. Her solo visual exhibit Girlhood/UnDone (October-November 2017) showed at NJCU. She is the author of Black Gardenias: A Collection of Poems, Stories, & Sayings From A Woman’s Heart (Semaj Publishing, 2013). Dr. EllisWilliams is a playwright and actor. Her one woman play Scarf Diaries premiered at NJPAC in 2017. Ellis-Williams is an award-winning filmmaker. Her documentary Lee Hagan: Connecting Generations (2016) won best short documentary at the Newark Black Film Festival. She is a highly sought after international public speaker and lecturer. Her TedX Talk Finding Justice in the Land of the Free (2015) tried to unpack her immigrant status in America. Dr. Ellis-Williams is a minister at Bethany Baptist Church in Newark where she calls home. She is a member of the board of trustees for the New Jersey Institute of Social Justice. Dr. Ellis-Williams earned her Ph.D. in Public Policy & Urban and Regional Planning. Immigrant. Mother. Wife. Citizen. Black Woman of God. Sister. Daughter. Grateful. My creative process is based on the idea of layering, recycling, reimagining, and mixing methods. Mixed media abstract collaging is at the heart of the process even when doing conceptual work. I am constantly searching beneath layers for hidden messages and light. For example, in some of my work I combine my original work (acrylic and watercolor paintings, silk batik, digital photos, and drawings) with print and digital images found in magazines, newspapers, brochures, textiles, cards, and/or various objects. The image continues to evolve, shifting as the sociopolitical and cultural road map changes. My work explores the layers of my own identity---blackness, girl/womanhood, mother, wife, and immigrant---in the context of popular culture, power, politics, religion/faith, history, music, social movements and socioeconomics. The work is a commentary on the textured lives of marginalized people. I create pieces as a way of unpacking rage, pain, contradictions, beauty, agency and joy constantly trying to understand the complex history and narrative of blackness in the United States and black the diaspora. Social justice themes emerge in my work. Ruby's List: This piece is the second in a 4 part series. I want us to reimagine Rockwell’s depiction of Ruby Bridges and all black girls. You will see her pushing, resisting and traveling through racial injustices surrounded by cultural forces, bold colors.

Available

Precious Cargo, 2018

Drawing

14 x 17 in. (framed)

35.6 x 43.2 cm (framed)

AW004

$ 1,800.00 USD

Acrylic, Ink, Paper on Paper. Dr. Antoinette Ellis-Williams is Chair and Professor of Women’s & Gender Studies at New Jersey City University where she teaches: Women, Hip Hop Spoken Word & Social Change; Women & Leadership; Race, Class, Gender Activism; Diversity & Difference; Black Womanhood. Dr. Ellis-Williams is a mixed abstract media artist, and poet. Her solo visual exhibit Girlhood/UnDone (October-November 2017) showed at NJCU. She is the author of Black Gardenias: A Collection of Poems, Stories, & Sayings From A Woman’s Heart (Semaj Publishing, 2013). Dr. EllisWilliams is a playwright and actor. Her one woman play Scarf Diaries premiered at NJPAC in 2017. Ellis-Williams is an award-winning filmmaker. Her documentary Lee Hagan: Connecting Generations (2016) won best short documentary at the Newark Black Film Festival. She is a highly sought after international public speaker and lecturer. Her TedX Talk Finding Justice in the Land of the Free (2015) tried to unpack her immigrant status in America. Dr. Ellis-Williams is a minister at Bethany Baptist Church in Newark where she calls home. She is a member of the board of trustees for the New Jersey Institute of Social Justice. Dr. Ellis-Williams earned her Ph.D. in Public Policy & Urban and Regional Planning. Immigrant. Mother. Wife. Citizen. Black Woman of God. Sister. Daughter. Grateful. My creative process is based on the idea of layering, recycling, reimagining, and mixing methods. Mixed media abstract collaging is at the heart of the process even when doing conceptual work. I am constantly searching beneath layers for hidden messages and light. For example, in some of my work I combine my original work (acrylic and watercolor paintings, silk batik, digital photos, and drawings) with print and digital images found in magazines, newspapers, brochures, textiles, cards, and/or various objects. The image continues to evolve, shifting as the sociopolitical and cultural road map changes. My work explores the layers of my own identity---blackness, girl/womanhood, mother, wife, and immigrant---in the context of popular culture, power, politics, religion/faith, history, music, social movements and socioeconomics. The work is a commentary on the textured lives of marginalized people. I create pieces as a way of unpacking rage, pain, contradictions, beauty, agency and joy constantly trying to understand the complex history and narrative of blackness in the United States and black the diaspora. Social justice themes emerge in my work. Precious Cargo: This work pays homage to the girls and women during the Middle Passage

Available

Grotesque Eve, 2019

Painting

12 x 12 in.

30.5 x 30.5 cm

SP001

$ 350.00 USD

Acrylic on canvas. Shari Phoenix was born in Barbados, in 1997. She completed her Associates degree at the Barbados Community College in 2016 and continues with a Bachelor degree in fine arts at the same college. Shari’s work interrogates ideas of beauty and the representation of Afro-Caribbean women through traditional costume making and design. Shari has been involved in the NCF Mural project, working with international artist Philippe Dodard (2017). She has also participated in a group exhibition “Central Bank of Barbados Crop over Visual Arts Festival, Village and Art walk” (2018). Shari continues to live and work in Barbados. The Grotesque Fashion Series focuses on costume design, Caribbean carnivals.

Available

Grotesque Fashion #3, 2019

Drawing

10 x 8 in.

25.4 x 20.3 cm

SP002

$ 350.00 USD

Watercolor on Paper. Shari Phoenix was born in Barbados, in 1997. She completed her Associates degree at the Barbados Community College in 2016 and continues with a Bachelor degree in fine arts at the same college. Shari’s work interrogates ideas of beauty and the representation of Afro-Caribbean women through traditional costume making and design. Shari has been involved in the NCF Mural project, working with international artist Philippe Dodard (2017). She has also participated in a group exhibition “Central Bank of Barbados Crop over Visual Arts Festival, Village and Art walk” (2018). Shari continues to live and work in Barbados. The Grotesque Fashion Series focuses on costume design, Caribbean carnivals.

Available

Grotesque Fashion #5, 2019

Drawing

10 x 8 in.

25.4 x 20.3 cm

SP003

$ 350.00 USD

Watercolor on Paper. Shari Phoenix was born in Barbados, in 1997. She completed her Associates degree at the Barbados Community College in 2016 and continues with a Bachelor degree in fine arts at the same college. Shari’s work interrogates ideas of beauty and the representation of Afro-Caribbean women through traditional costume making and design. Shari has been involved in the NCF Mural project, working with international artist Philippe Dodard (2017). She has also participated in a group exhibition “Central Bank of Barbados Crop over Visual Arts Festival, Village and Art walk” (2018). Shari continues to live and work in Barbados. The Grotesque Fashion Series focuses on costume design, Caribbean carnivals.

Available

I'm Not Your Nigger, 2020

Drawing

13 x 11 in.

33 x 27.9 cm

SP004

$ 1,500.00 USD

Watercolor on Paper Shari Phoenix was born in Barbados, in 1997. She completed her Associates degree at the Barbados Community College in 2016 and continues with a Bachelor degree in fine arts at the same college. Shari’s work interrogates ideas of beauty and the representation of Afro-Caribbean women through traditional costume making and design. Shari has been involved in the NCF Mural project, working with international artist Philippe Dodard (2017). She has also participated in a group exhibition “Central Bank of Barbados Crop over Visual Arts Festival, Village and Art walk” (2018). Shari continues to live and work in Barbados. “Not your Nigger” series: Arguably, the Black caricature has made an enormous impact on numerous aspects of our daily lives, from childhood to adulthood and from cartoons to a pancake syrup logo. The Black caricature has been used as a visual representation to racial ridicule the Black identity as a collective. The caricature by nature imitates a person’s physical appearance through comical and grotesque means. It is an art from meant for laughs at others expense. This series “Not your nigger” is meant to be a reclamation of the physical attributes used to mock the Black identity. Within these self-portraits, the character embraces the over exaggerations of the characteristics of the Black caricature and blatantly says ‘I’m not your nigger.” In reclaiming these features, it attempts to dismantle the position of power held over the Black individual by these racist representations.

Available

Strange Fruit, 2019

Painting

48 x 48 in.

121.9 x 121.9 cm

MJB0001

Oil on canvas Mario Joyce Belyusar is a self-taught African American artist living in New York City. His artistic process began early and was heavily influenced by religious and racial prejudice experienced in rural Ohio. He began using both genealogical research and paint to further understand and share the social history of discrimination. After a moving to New York City, he is furthering his studies in the African diaspora and how American History is steeped in selective storytelling that neglects to share the experiences of marginalized communities. His work is characterized by vibrant colors, strong line and heavy texture. A collage of vintage materials is typically apart of his process. Mario has exhibited his work in many group exhibitions, including most recently at Local Project and Departure Studios in Queens, New York City and Bellevue College in Seattle, Washington. His work is privately owned by many collectors throughout the U.S. "I collage vintage materials as a background for landscapes and figures in oil paint that create an open dialogue with our Ancestors." Mario is specifically interested in the African American experience and social injustice within the Black community. His work is intended to create a bridge between our ancestor’s experiences and our familiar contemporary existence. He is specifically interested in the African American experience and social injustice within the Black community. He believes that without an understanding of our past, we have no real grip on the present, so his working process begins with genealogical research. “Strange Fruit” was made in response to black men dying by the hands of police and white supremacy. It is my intention, in this piece, to take back that narrative and memorialize the countless black bodies that have risen and now navigate a higher plane.

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Third Eye, 2019

Painting

24 x 18 in.

61 x 45.7 cm

MJB0002

$ 1,100.00 USD

Oil on canvas Mario Joyce Belyusar is a self-taught African American artist living in New York City. His artistic process began early and was heavily influenced by religious and racial prejudice experienced in rural Ohio. He began using both genealogical research and paint to further understand and share the social history of discrimination. After a moving to New York City, he is furthering his studies in the African diaspora and how American History is steeped in selective storytelling that neglects to share the experiences of marginalized communities. His work is characterized by vibrant colors, strong line and heavy texture. A collage of vintage materials is typically apart of his process. Mario has exhibited his work in many group exhibitions, including most recently at Local Project and Departure Studios in Queens, New York City and Bellevue College in Seattle, Washington. His work is privately owned by many collectors throughout the U.S. "I collage vintage materials as a background for landscapes and figures in oil paint that create an open dialogue with our Ancestors." Mario is specifically interested in the African American experience and social injustice within the Black community. His work is intended to create a bridge between our ancestor’s experiences and our familiar contemporary existence. He is specifically interested in the African American experience and social injustice within the Black community. He believes that without an understanding of our past, we have no real grip on the present, so his working process begins with genealogical research. “Third Eye” explores my own mortality and confronts what it means to be black and brown in a Nation that I’ve actively been a participant in for 400 years, but doesn’t hesitate to exterminate my body if I am no longer useful.

Available

Forest Gospel, 2020

Painting

48 x 180 in.

121.9 x 457.2 cm

MJB0003

$ 3,200.00 USD

Oil, acrylic, collage of vintage images Mario Joyce Belyusar is a self-taught African American artist living in New York City. His artistic process began early and was heavily influenced by religious and racial prejudice experienced in rural Ohio. He began using both genealogical research and paint to further understand and share the social history of discrimination. After a moving to New York City, he is furthering his studies in the African diaspora and how American History is steeped in selective storytelling that neglects to share the experiences of marginalized communities. His work is characterized by vibrant colors, strong line and heavy texture. A collage of vintage materials is typically apart of his process. Mario has exhibited his work in many group exhibitions, including most recently at Local Project and Departure Studios in Queens, New York City and Bellevue College in Seattle, Washington. His work is privately owned by many collectors throughout the U.S. "I collage vintage materials as a background for landscapes and figures in oil paint that create an open dialogue with our Ancestors." Mario is specifically interested in the African American experience and social injustice within the Black community. His work is intended to create a bridge between our ancestor’s experiences and our familiar contemporary existence. He is specifically interested in the African American experience and social injustice within the Black community. He believes that without an understanding of our past, we have no real grip on the present, so his working process begins with genealogical research. “Forest Gospel” is in response to police brutality towards black bodies. There is a “bullet” in the form of volcanism, storm systems and cosmology that moves through a line of black men of every generation. We are natural marvels that have always been here and, though our community is attacked, we find strength and protection amongst each other. Always

Available

Bazalwana (brothers), 2019

Drawing

25 x 19 in.

63.5 x 48.3 cm

KGA0001

$ 3,750.00 USD

Aquarelle Coloring Pencils and Acrylic Paint. Kgalalelo Gaitate is a self-taught female South African visual and corporate artist. From the very tender age of three, her parents and crèche teachers noticed an embedded creative nature which she was encouraged to nurture. Teaching herself to draw, from various disciplines such as observing television cartoons, coloring books, illustrated story books, magazines and actual people, she finally began to draw in pen, as she found this medium to be much more striking than pencil. Honing her gift at the National School of the Arts High School, she was exposed to various media: watercolor, gouache, oil paint, etching and marbling. She has taken part in various group exhibitions with Mashumi Art Projects, a gallery located on Nelson Mandela’s Home Street, and the world renowned Vilakazi Street as well as at the Cape Best Milan for the Salone Mobile Internazionale, Eyethu Gallery in Mofolo, Soweto and Kalahari Art Gallery in Brooklyn, NY, Afropolitan Gallery, Julie Miller Gallery and has been an art panelist for Prelude-To-The-Shed Hudson Yards, NY. She has also done corporate art for Genesis Analytics and Royal HaskoningDHV, and is currently administering the Ubuciko Artist Career Development Programme for Pareto Limited. Her Heritage series is part of an ongoing exhibition at Edikeni Restaurant in Sandton, Johannesburg. Possessing an incredible eye for detail, she specializes in portraiture, working primarily with oil pastels, ballpoint pen, copic markers and acrylic paint. Her subject matter is inspired by South African traditional dress and on various aspects of numerous subcultures throughout the South African Terrain. This series, Amaqhawe, consists of artworks that celebrate South Africans of Xhosa heritage. The translation of amaqhawe is heroes, and so aptly describes uTata Madiba and Mam’ Winnie Mandela who are featured in this series. The Eastern Cape has a long and rich history of artistic expression, and Xhosa traditional dress in all its regal grandeur makes for a wealth of weighty Afrocentric art reference. I have incorporated Ndebele wall art in the backgrounds of some of the artwork to explore the interconnectedness of our cultures. By illustrating the portraits in monochrome hues and using bright colored backgrounds, I seek to capture the richness of our multicultural ancestry and spark a cultural dialogue.

Available

Mother of a Nation, 2019

Drawing

50 x 47¼ in.

127 x 120 cm

KGA0002

$ 12,000.00 USD

Aquarelle Coloring Pencils and Acrylic Paint. Kgalalelo Gaitate is a self-taught female South African visual and corporate artist. From the very tender age of three, her parents and crèche teachers noticed an embedded creative nature which she was encouraged to nurture. Teaching herself to draw, from various disciplines such as observing television cartoons, coloring books, illustrated story books, magazines and actual people, she finally began to draw in pen, as she found this medium to be much more striking than pencil. Honing her gift at the National School of the Arts High School, she was exposed to various media: watercolor, gouache, oil paint, etching and marbling. She has taken part in various group exhibitions with Mashumi Art Projects, a gallery located on Nelson Mandela’s Home Street, and the world renowned Vilakazi Street as well as at the Cape Best Milan for the Salone Mobile Internazionale, Eyethu Gallery in Mofolo, Soweto and Kalahari Art Gallery in Brooklyn, NY, Afropolitan Gallery, Julie Miller Gallery and has been an art panelist for Prelude-To-The-Shed Hudson Yards, NY. She has also done corporate art for Genesis Analytics and Royal HaskoningDHV, and is currently administering the Ubuciko Artist Career Development Programme for Pareto Limited. Her Heritage series is part of an ongoing exhibition at Edikeni Restaurant in Sandton, Johannesburg. Possessing an incredible eye for detail, she specializes in portraiture, working primarily with oil pastels, ballpoint pen, copic markers and acrylic paint. Her subject matter is inspired by South African traditional dress and on various aspects of numerous subcultures throughout the South African Terrain. This series, Amaqhawe, consists of artworks that celebrate South Africans of Xhosa heritage. The translation of amaqhawe is heroes, and so aptly describes uTata Madiba and Mam’ Winnie Mandela who are featured in this series. The Eastern Cape has a long and rich history of artistic expression, and Xhosa traditional dress in all its regal grandeur makes for a wealth of weighty Afrocentric art reference. I have incorporated Ndebele wall art in the backgrounds of some of the artwork to explore the interconnectedness of our cultures. By illustrating the portraits in monochrome hues and using bright colored backgrounds, I seek to capture the richness of our multicultural ancestry and spark a cultural dialogue.

Available

Um Xhosa, 2019

Drawing

25 x 19 in.

63.5 x 48.3 cm

KGA0003

$ 3,750.00 USD

Aquarelle Coloring Pencils and Acrylic Paint. Kgalalelo Gaitate is a self-taught female South African visual and corporate artist. From the very tender age of three, her parents and crèche teachers noticed an embedded creative nature which she was encouraged to nurture. Teaching herself to draw, from various disciplines such as observing television cartoons, coloring books, illustrated story books, magazines and actual people, she finally began to draw in pen, as she found this medium to be much more striking than pencil. Honing her gift at the National School of the Arts High School, she was exposed to various media: watercolor, gouache, oil paint, etching and marbling. She has taken part in various group exhibitions with Mashumi Art Projects, a gallery located on Nelson Mandela’s Home Street, and the world renowned Vilakazi Street as well as at the Cape Best Milan for the Salone Mobile Internazionale, Eyethu Gallery in Mofolo, Soweto and Kalahari Art Gallery in Brooklyn, NY, Afropolitan Gallery, Julie Miller Gallery and has been an art panelist for Prelude-To-The-Shed Hudson Yards, NY. She has also done corporate art for Genesis Analytics and Royal HaskoningDHV, and is currently administering the Ubuciko Artist Career Development Programme for Pareto Limited. Her Heritage series is part of an ongoing exhibition at Edikeni Restaurant in Sandton, Johannesburg. Possessing an incredible eye for detail, she specializes in portraiture, working primarily with oil pastels, ballpoint pen, copic markers and acrylic paint. Her subject matter is inspired by South African traditional dress and on various aspects of numerous subcultures throughout the South African Terrain. This series, Amaqhawe, consists of artworks that celebrate South Africans of Xhosa heritage. The translation of amaqhawe is heroes, and so aptly describes uTata Madiba and Mam’ Winnie Mandela who are featured in this series. The Eastern Cape has a long and rich history of artistic expression, and Xhosa traditional dress in all its regal grandeur makes for a wealth of weighty Afrocentric art reference. I have incorporated Ndebele wall art in the backgrounds of some of the artwork to explore the interconnectedness of our cultures. By illustrating the portraits in monochrome hues and using bright colored backgrounds, I seek to capture the richness of our multicultural ancestry and spark a cultural dialogue.

Available

Deja vu, 2020

Mixed Media

17¾ x 11¾ in.

45 x 30 cm

MJM0001

$ 750.00 USD

Acrylic and Charcoal on canvas Mulenga J Mulenga is a multimedia visual artist who was born in 1987 in Lusaka, Zambia. She works across disciplines such as painting, sculpture, installation, drawings, Photography and performance art. In 2019, she was awarded the most outstanding Female Visual in Zambia during the National Ngoma Awards ceremony by the National Arts Council. Recently she attended a 3-month residence program at Gasworks, London and she is currently participating in the Sanaa exhibition which is part of the Adelaide Fringe Festival in Australia. She is a 2015 Asiko international School Alumni under CCA Lagos and attended the Summer school of International Summer Academy of Fine Arts in Salzburg, Austria in 2015.Mulenga’s works considers current and historical representations of female black bodies within the context of post-colonial Zambia, specifically the ways in which deeply rooted social roles and identities are reproduced and reinforced throughout every stage of life. Mulenga works across painting, sculpture, photography, installation and performance, to revisit and reimagine old and new narratives that connect themes of gender and socio-cultural discourses within the legacy of colonialism. Deja Vu: This body of work focused on the hidden dimension of power of social cultural beliefs: how these beliefs are reproduced in everyday negotiations of female bodies.

Available

The On Lookers, 2018

Mixed Media

16½ x 11⅜ in.

41.9 x 29 cm

MJM0002

$ 550.00 USD

Acrylic, Silver Leaf and Charcoal on paper Mulenga J Mulenga is a multimedia visual artist who was born in 1987 in Lusaka, Zambia. She works across disciplines such as painting, sculpture, installation, drawings, Photography and performance art. In 2019, she was awarded the most outstanding Female Visual in Zambia during the National Ngoma Awards ceremony by the National Arts Council. Recently she attended a 3-month residence program at Gasworks, London and she is currently participating in the Sanaa exhibition which is part of the Adelaide Fringe Festival in Australia. She is a 2015 Asiko international School Alumni under CCA Lagos and attended the Summer school of International Summer Academy of Fine Arts in Salzburg, Austria in 2015.Mulenga’s works considers current and historical representations of female black bodies within the context of post-colonial Zambia, specifically the ways in which deeply rooted social roles and identities are reproduced and reinforced throughout every stage of life. Mulenga works across painting, sculpture, photography, installation and performance, to revisit and reimagine old and new narratives that connect themes of gender and socio-cultural discourses within the legacy of colonialism. The On Lookers: This body of work focused on the hidden dimension of power of social cultural beliefs: how these beliefs are reproduced in everyday negotiations of female bodies.

Available

Utopia II, 2019

Mixed Media

15¾ x 15¾ in.

39.9 x 39.9 cm

MJM0003

$ 750.00 USD

Acrylic, Silver Leaf and Charcoal on canvas Mulenga J Mulenga is a multimedia visual artist who was born in 1987 in Lusaka, Zambia. She works across disciplines such as painting, sculpture, installation, drawings, Photography and performance art. In 2019, she was awarded the most outstanding Female Visual in Zambia during the National Ngoma Awards ceremony by the National Arts Council. Recently she attended a 3-month residence program at Gasworks, London and she is currently participating in the Sanaa exhibition which is part of the Adelaide Fringe Festival in Australia. She is a 2015 Asiko international School Alumni under CCA Lagos and attended the Summer school of International Summer Academy of Fine Arts in Salzburg, Austria in 2015.Mulenga’s works considers current and historical representations of female black bodies within the context of post-colonial Zambia, specifically the ways in which deeply rooted social roles and identities are reproduced and reinforced throughout every stage of life. Mulenga works across painting, sculpture, photography, installation and performance, to revisit and reimagine old and new narratives that connect themes of gender and socio-cultural discourses within the legacy of colonialism. Utopia II: This body of work focused on the hidden dimension of power of social cultural beliefs: how these beliefs are reproduced in everyday negotiations of female bodies.

Available

The Bride I Know, 2020

Mixed Media

20⅛ x 7¾ in.

51.2 x 19.7 cm

MJM0004

$ 1,400.00 USD

Acrylic, beads, copper leaf and charcoal on canvas Mulenga J Mulenga is a multimedia visual artist who was born in 1987 in Lusaka, Zambia. She works across disciplines such as painting, sculpture, installation, drawings, Photography and performance art. In 2019, she was awarded the most outstanding Female Visual in Zambia during the National Ngoma Awards ceremony by the National Arts Council. Recently she attended a 3-month residence program at Gasworks, London and she is currently participating in the Sanaa exhibition which is part of the Adelaide Fringe Festival in Australia. She is a 2015 Asiko international School Alumni under CCA Lagos and attended the Summer school of International Summer Academy of Fine Arts in Salzburg, Austria in 2015.Mulenga’s works considers current and historical representations of female black bodies within the context of post-colonial Zambia, specifically the ways in which deeply rooted social roles and identities are reproduced and reinforced throughout every stage of life. Mulenga works across painting, sculpture, photography, installation and performance, to revisit and reimagine old and new narratives that connect themes of gender and socio-cultural discourses within the legacy of colonialism. The Bride I Know: This body of work focused on the hidden dimension of power of social cultural beliefs: how these beliefs are reproduced in everyday negotiations of female bodies.

Available

uTata Wethu (our father), 2019

Drawing

50⅜ x 34½ in.

128 x 87.5 cm

KGA0004

$ 7,500.00 USD

Aquarelle Coloring Pencils and Acrylic Paint. Kgalalelo Gaitate is a self-taught female South African visual and corporate artist. From the very tender age of three, her parents and crèche teachers noticed an embedded creative nature which she was encouraged to nurture. Teaching herself to draw, from various disciplines such as observing television cartoons, coloring books, illustrated story books, magazines and actual people, she finally began to draw in pen, as she found this medium to be much more striking than pencil. Honing her gift at the National School of the Arts High School, she was exposed to various media: watercolor, gouache, oil paint, etching and marbling. She has taken part in various group exhibitions with Mashumi Art Projects, a gallery located on Nelson Mandela’s Home Street, and the world renowned Vilakazi Street as well as at the Cape Best Milan for the Salone Mobile Internazionale, Eyethu Gallery in Mofolo, Soweto and Kalahari Art Gallery in Brooklyn, NY, Afropolitan Gallery, Julie Miller Gallery and has been an art panelist for Prelude-To-The-Shed Hudson Yards, NY. She has also done corporate art for Genesis Analytics and Royal HaskoningDHV, and is currently administering the Ubuciko Artist Career Development Programme for Pareto Limited. Her Heritage series is part of an ongoing exhibition at Edikeni Restaurant in Sandton, Johannesburg. Possessing an incredible eye for detail, she specializes in portraiture, working primarily with oil pastels, ballpoint pen, copic markers and acrylic paint. Her subject matter is inspired by South African traditional dress and on various aspects of numerous subcultures throughout the South African Terrain. This series, Amaqhawe, consists of artworks that celebrate South Africans of Xhosa heritage. The translation of amaqhawe is heroes, and so aptly describes uTata Madiba and Mam’ Winnie Mandela who are featured in this series. The Eastern Cape has a long and rich history of artistic expression, and Xhosa traditional dress in all its regal grandeur makes for a wealth of weighty Afrocentric art reference. I have incorporated Ndebele wall art in the backgrounds of some of the artwork to explore the interconnectedness of our cultures. By illustrating the portraits in monochrome hues and using bright colored backgrounds, I seek to capture the richness of our multicultural ancestry and spark a cultural dialogue.

Available

Mama Will You Braid My Hair Like Yours, 2019

Painting

48 x 48 in.

121.9 x 121.9 cm

MJB0004

$ 2,000.00 USD

Oil on canvas. Mario Joyce Belyusar is a self-taught African American artist living in New York City. His artistic process began early and was heavily influenced by religious and racial prejudice experienced in rural Ohio. He began using both genealogical research and paint to further understand and share the social history of discrimination. After a moving to New York City, he is furthering his studies in the African diaspora and how American History is steeped in selective storytelling that neglects to share the experiences of marginalized communities. His work is characterized by vibrant colors, strong line and heavy texture. A collage of vintage materials is typically apart of his process. Mario has exhibited his work in many group exhibitions, including most recently at Local Project and Departure Studios in Queens, New York City and Bellevue College in Seattle, Washington. His work is privately owned by many collectors throughout the U.S. "I collage vintage materials as a background for landscapes and figures in oil paint that create an open dialogue with our Ancestors." Mario is specifically interested in the African American experience and social injustice within the Black community. His work is intended to create a bridge between our ancestor’s experiences and our familiar contemporary existence. He is specifically interested in the African American experience and social injustice within the Black community. He believes that without an understanding of our past, we have no real grip on the present, so his working process begins with genealogical research. “Mama Can You Braid My Hair…” shows two unintentional sitters on the 1 train at the Harlem-125th stop, a mother and her daughter, who were probably homeless. The mother’s face was frozen with worry, while her child was full of joy, surrounded by all their belongings. She looked up and asked, “Mama will you braid my hair like yours?” and without hesitation her mother opened her lap and lovingly began to braid her hair.

Available

Nzoloko Map, 2020

Mixed Media

11¾ x 11¾ in.

30 x 30 cm

AK-NZ1-2020

$ 1,500.00 USD

Incision, engraving, acrylic and collage of wood and wood dust on wood plywood. Alexandre Kyungu Mwilambwe (born in 1992, Kinshasa D.R.Congo) He lives and works in Kinshasa, Democratic Republic of Congo. He studied art at the Academy of Fine Arts in Kinshasa. He is co-founder of the group Vision Total (vi.to) and works in collaboration with Kin Art Studio (KAS). Alexandre Kyungu has participated in several group exhibitions and artist residencies in his country and abroad, to name but a few: In 2020, he recently presented his work in a group show ''Art Off-Screen'' organized by Eileen Jeng Lynch, curator of visual arts at Wavehill in New York. In 2020, he participated in a group show ''Africa Art Auction'' organized by Atim Annette Oton (Calabar Gallery) in New York. In March 2020 his work was included in a group show '' Doors, Eyes and Marks tribal'' at AKKA Project Gallery in Dubai. In 2020, he participated in a group show "trajectory" organized by Charlotte Kotik and William Corwin (Five Myles gallery) in Brooklyn and in the same year he presented his work in the international Biennale of Congo "transition" in Kinshasa, organized by KinArtStudio. In 2019, his work was included in the art fair AKAA Paris by Gallery Angalia. Alexandre Kyungu has participated in numerous residencies: in 2019 at Art OMI in New York and at Bag Factory studio artist in Johannesburg organized by Pro Helvetia. In 2018 Artist in Residence in Basel Atelier Mondial (Switzerland) organized by Pro Helvetia and at the Bloc des Artistes in Cosenza in Italy. Alexandre Kyungu is an artist whose work explores the imaginary between mapping and scarification of the body. He combines painting, drawing, sculpture and installation in his practice as an artist. However, his work explores all ideas of migration and identity, borders and space, signs and symbols. His art practice focuses on issues related to urban space, exploring parallels between urban mapping and body scarification. The medium of choice is the "door", which he attributes to being synonymous with openness, encounter and discovery in an increasingly universal society. His work functions as a "cartographic essay" in which he attempts to construct a new and global world while merging and juxtaposing maps of different cities and the scarification of the body. It is a way for him to question identity, the city and its cartography, to erase borders between peoples and to give birth to a unique territory in the imaginary space of his work. The shadow of the city: a series of works that evokes and questions the areas and spaces of conflict in our system and in the living space we share with each other. The series is composed of a map of different countries, cities and regions in conflict or in danger and a silhouette inverted and posed above a map of cut wood (plywood). She is scarified with the traditional African symbol nzoloko (scarification) and painted with small geolocation symbols in several colors on her body.

Available

Untitled, 2020

Mixed Media

25¼ x 25¼ in.

64 x 64 cm

AK-UN3-2020

$ 4,500.00 USD

Wood cutting, incision, engraving, acrylic and collage of wood and wood dust on wood plywood. Alexandre Kyungu Mwilambwe (born in 1992, Kinshasa D.R.Congo) He lives and works in Kinshasa, Democratic Republic of Congo. He studied art at the Academy of Fine Arts in Kinshasa. He is co-founder of the group Vision Total (vi.to) and works in collaboration with Kin Art Studio (KAS). Alexandre Kyungu has participated in several group exhibitions and artist residencies in his country and abroad, to name but a few: In 2020, he recently presented his work in a group show ''Art Off-Screen'' organized by Eileen Jeng Lynch, curator of visual arts at Wavehill in New York. In 2020, he participated in a group show ''Africa Art Auction'' organized by Atim Annette Oton (Calabar Gallery) in New York. In March 2020 his work was included in a group show '' Doors, Eyes and Marks tribal'' at AKKA Project Gallery in Dubai. In 2020, he participated in a group show "trajectory" organized by Charlotte Kotik and William Corwin (Five Myles gallery) in Brooklyn and in the same year he presented his work in the international Biennale of Congo "transition" in Kinshasa, organized by KinArtStudio. In 2019, his work was included in the art fair AKAA Paris by Gallery Angalia. Alexandre Kyungu has participated in numerous residencies: in 2019 at Art OMI in New York and at Bag Factory studio artist in Johannesburg organized by Pro Helvetia. In 2018 Artist in Residence in Basel Atelier Mondial (Switzerland) organized by Pro Helvetia and at the Bloc des Artistes in Cosenza in Italy. Alexandre Kyungu is an artist whose work explores the imaginary between mapping and scarification of the body. He combines painting, drawing, sculpture and installation in his practice as an artist. However, his work explores all ideas of migration and identity, borders and space, signs and symbols. His art practice focuses on issues related to urban space, exploring parallels between urban mapping and body scarification. The medium of choice is the "door", which he attributes to being synonymous with openness, encounter and discovery in an increasingly universal society. His work functions as a "cartographic essay" in which he attempts to construct a new and global world while merging and juxtaposing maps of different cities and the scarification of the body. It is a way for him to question identity, the city and its cartography, to erase borders between peoples and to give birth to a unique territory in the imaginary space of his work. The shadow of the city: a series of works that evokes and questions the areas and spaces of conflict in our system and in the living space we share with each other. The series is composed of a map of different countries, cities and regions in conflict or in danger and a silhouette inverted and posed above a map of cut wood (plywood). She is scarified with the traditional African symbol nzoloko (scarification) and painted with small geolocation symbols in several colors on her body.

Available

We Stay Together, 2020

Painting

64 x 107½ in.

162.6 x 273.1 cm

MJB0005

Oil paint and collage of vintage images of Americana design through American history. Mario Joyce Belyusar is a self-taught African American artist living in New York City. His artistic process began early and was heavily influenced by religious and racial prejudice experienced in rural Ohio. He began using both genealogical research and paint to further understand and share the social history of discrimination. After a moving to New York City, he is furthering his studies in the African diaspora and how American History is steeped in selective storytelling that neglects to share the experiences of marginalized communities. His work is characterized by vibrant colors, strong line and heavy texture. A collage of vintage materials is typically apart of his process. Mario has exhibited his work in many group exhibitions, including most recently at Local Project and Departure Studios in Queens, New York City and Bellevue College in Seattle, Washington. His work is privately owned by many collectors throughout the U.S. "I collage vintage materials as a background for landscapes and figures in oil paint that create an open dialogue with our Ancestors." Mario is specifically interested in the African American experience and social injustice within the Black community. His work is intended to create a bridge between our ancestor’s experiences and our familiar contemporary existence. He is specifically interested in the African American experience and social injustice within the Black community. He believes that without an understanding of our past, we have no real grip on the present, so his working process begins with genealogical research. “We Stay Together” is a dialogue between two American quilts. One quilt stitches together black ancestry and heritage that predates the crossing of the Atlantic from Africa. The other quilt is a parody of our experiences that confuses our youth and destroys our foundation as a people.

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3 Little Sisters, 2020

Mixed Media

16⅝ x 16⅝ in.

42.2 x 42.2 cm

MJM0005

$ 600.00 USD

Acrylic & Charcoal on canvas. Mulenga J Mulenga is a multimedia visual artist who was born in 1987 in Lusaka, Zambia. She works across disciplines such as painting, sculpture, installation, drawings, Photography and performance art. In 2019, she was awarded the most outstanding Female Visual in Zambia during the National Ngoma Awards ceremony by the National Arts Council. Recently she attended a 3-month residence program at Gasworks, London and she is currently participating in the Sanaa exhibition which is part of the Adelaide Fringe Festival in Australia. She is a 2015 Asiko international School Alumni under CCA Lagos and attended the Summer school of International Summer Academy of Fine Arts in Salzburg, Austria in 2015.Mulenga’s works considers current and historical representations of female black bodies within the context of post-colonial Zambia, specifically the ways in which deeply rooted social roles and identities are reproduced and reinforced throughout every stage of life. Mulenga works across painting, sculpture, photography, installation and performance, to revisit and reimagine old and new narratives that connect themes of gender and socio-cultural discourses within the legacy of colonialism.

Available

Last Swing, 2020

Mixed Media

39⅜ x 31 in.

100.1 x 78.7 cm

MJM0006

Acrylic, charcoal and cardbox on canvas. Mulenga J Mulenga is a multimedia visual artist who was born in 1987 in Lusaka, Zambia. She works across disciplines such as painting, sculpture, installation, drawings, Photography and performance art. In 2019, she was awarded the most outstanding Female Visual in Zambia during the National Ngoma Awards ceremony by the National Arts Council. Recently she attended a 3-month residence program at Gasworks, London and she is currently participating in the Sanaa exhibition which is part of the Adelaide Fringe Festival in Australia. She is a 2015 Asiko international School Alumni under CCA Lagos and attended the Summer school of International Summer Academy of Fine Arts in Salzburg, Austria in 2015.Mulenga’s works considers current and historical representations of female black bodies within the context of post-colonial Zambia, specifically the ways in which deeply rooted social roles and identities are reproduced and reinforced throughout every stage of life. Mulenga works across painting, sculpture, photography, installation and performance, to revisit and reimagine old and new narratives that connect themes of gender and socio-cultural discourses within the legacy of colonialism.

Sold

Hidden Treasures V, 2020

Mixed Media

39⅜ x 29⅞ in.

100.1 x 76 cm

MJM0007

$ 1,500.00 USD

Acrylic, copper leaf and Charcoal on canvas. Mulenga J Mulenga is a multimedia visual artist who was born in 1987 in Lusaka, Zambia. She works across disciplines such as painting, sculpture, installation, drawings, Photography and performance art. In 2019, she was awarded the most outstanding Female Visual in Zambia during the National Ngoma Awards ceremony by the National Arts Council. Recently she attended a 3-month residence program at Gasworks, London and she is currently participating in the Sanaa exhibition which is part of the Adelaide Fringe Festival in Australia. She is a 2015 Asiko international School Alumni under CCA Lagos and attended the Summer school of International Summer Academy of Fine Arts in Salzburg, Austria in 2015.Mulenga’s works considers current and historical representations of female black bodies within the context of post-colonial Zambia, specifically the ways in which deeply rooted social roles and identities are reproduced and reinforced throughout every stage of life. Mulenga works across painting, sculpture, photography, installation and performance, to revisit and reimagine old and new narratives that connect themes of gender and socio-cultural discourses within the legacy of colonialism.

Available

Indoda Nomfazi (husband and wife), 2019

Drawing

68⅞ x 50 in.

175 x 127 cm

KGA0005

$ 11,200.00 USD

Aquarelle Coloring Pencils and Acrylic Paint. Kgalalelo Gaitate is a self-taught female South African visual and corporate artist. From the very tender age of three, her parents and crèche teachers noticed an embedded creative nature which she was encouraged to nurture. Teaching herself to draw, from various disciplines such as observing television cartoons, coloring books, illustrated story books, magazines and actual people, she finally began to draw in pen, as she found this medium to be much more striking than pencil. Honing her gift at the National School of the Arts High School, she was exposed to various media: watercolor, gouache, oil paint, etching and marbling. She has taken part in various group exhibitions with Mashumi Art Projects, a gallery located on Nelson Mandela’s Home Street, and the world renowned Vilakazi Street as well as at the Cape Best Milan for the Salone Mobile Internazionale, Eyethu Gallery in Mofolo, Soweto and Kalahari Art Gallery in Brooklyn, NY, Afropolitan Gallery, Julie Miller Gallery and has been an art panelist for Prelude-To-The-Shed Hudson Yards, NY. She has also done corporate art for Genesis Analytics and Royal HaskoningDHV, and is currently administering the Ubuciko Artist Career Development Programme for Pareto Limited. Her Heritage series is part of an ongoing exhibition at Edikeni Restaurant in Sandton, Johannesburg. Possessing an incredible eye for detail, she specializes in portraiture, working primarily with oil pastels, ballpoint pen, copic markers and acrylic paint. Her subject matter is inspired by South African traditional dress and on various aspects of numerous subcultures throughout the South African Terrain. This series, Amaqhawe, consists of artworks that celebrate South Africans of Xhosa heritage. The translation of amaqhawe is heroes, and so aptly describes uTata Madiba and Mam’ Winnie Mandela who are featured in this series. The Eastern Cape has a long and rich history of artistic expression, and Xhosa traditional dress in all its regal grandeur makes for a wealth of weighty Afrocentric art reference. I have incorporated Ndebele wall art in the backgrounds of some of the artwork to explore the interconnectedness of our cultures. By illustrating the portraits in monochrome hues and using bright colored backgrounds, I seek to capture the richness of our multicultural ancestry and spark a cultural dialogue.

Available