ethan hoskins (23h ago)

Read at BmoreArt.com:: Hypervisibility: Qrcky’s Dazzle Camouflage of Black Bodies, A Century-Old Military Strategy Transposed to Contemporary Portraiture @qrcky Words: Ethan Hoskins @et.washere Instead of trying to hide his subjects to shield them from whatever artillery their Blackness provokes, Qrcky leans into their inherent visibility, painting them boldly and strikingly.

An oldie but a goodie While I wrote this essay in 2023 while sick with COVID, I felt really inspired by the diaristic style and sonic-to-paint conversation of work by @et.washere

Earlier this week, we received news from the Fine Arts Committee at @risdmuseum — our collaborative textile work “ten days (give or take) v.1” had been acquired by the museum. For both of us—this is our first museum acquisition. @provi_kate shared that not only did the committee approve the purchase with generous words about our collaboration, but one of the members felt so connected to the work that she made a personal contribution to help bring it into the collection. We are still young artists, still learning, still finding our way in a world that feels exceedingly fractured and uncertain. What began as an experiment between the two of us grew into six works — three that live in the US and three destined for India. With deepest gratitude to @provi_kate for making this acquisition possible, and to everyone at @risdtextiles — especially @anna.gitelson.kahn and @lisascull3 — for making the making of the work itself possible. [gratitude, first acquisition, milestone, collaboration, emerging artists, museum collection, contemporary practice, textiles, cross-border, new chapter]

untitled self portrait on tyvek 60” x 42” mixed media on tyvek and canvas on view @quidnuncartgallery until september 28 as part of “B25” @flickeria_kirk @nancymastermind

“Dupon Ty” 51.5”  x 69” x 2” Acrylic, house paint, oil pastel, conte, graphite, tape, sand paper, wood, door hinge, news paper, picture frame on Tyvek house wrap  On view @laisun_keane until June 8 as a part of “B2B” @flickeria_kirk

“I bit the hand that fed me and it bled strawberry jam”  53” x 39.5” x 40.5” Acrylic, house paint, oil pastel, conte, graphite, tape, news paper, street sign, cupboard door, photo, canvas, styrofoam, paper, wax, alginate, vellum, flag, umbrella pole, synthetic rope, flag on plywood On view @laisun_keane until June 8 as part of “B2B” @flickeria_kirk

What Are You Waiting For? 59” x 81” x 8” Acrylic, gesso, tape, cardboard, mirror, oil pastel, canvas, plastic, wax hand, mirror, screws, pins, caulking on styrofoam and plywood With “What Are You Waiting For?,” I was exploring themes and ideas of Afrofuturism, namely the idea of looking to the future to correct for the lack of agency and concrete identity felt in the present. To do this, I referenced “The Creation of Adam,” from Michelangelo’s Sistine Chapel fresco. In “The Creation of Adam,” Michelangelo depicts the moment right before God reaches out to Adam to imbue him with the spark of life. In my piece, I depict myself in the present as Adam. The figure is somewhere between there and not there, as the composition oscillates between figurative and abstract. The hand of God is also my hand and it reaches out to the viewer, breaking the fourth wall and suggesting that this invitation to be animated extends beyond the images on the styrofoam, and is in fact very real and tangible.   While this piece doesn’t overtly deal with Afro or Afro-American imagery or technique, the semi abstract composition is largely rooted in W.E.B. Du Bois’ ideas of double consciousness.  Further, while the references to science fiction, a cornerstone in Afrofuturist aesthetics, may seem limited at first glance, the painting’s collapsing and distorting of space and time certainly hold some sci-fi weight, upon investigation.  “What Are You Waiting For?” At is core, is a call to action to become who you want to be.  “What Are You Waiting For?” Is currently on view at Quid Nunc Gallery as part of the Rooted in Tomorrow show @quidnuncartgallery at 1007 N Charles St, Baltimore MD until March 1. Thank you @nancymastermind and @quidnuncartgallery for being you 💯

I don’t know and you don’t either Styrofoam, masking paper, gesso, acrylic, house paint, graphite, pastel, painters tape, thumb tacks, muslin, hand holding the key to my studio, canvas 61” x 90” x 9”

Untitled (p7) graphite, conte, oil pastel, coloured pencil, gesso, acrylic, acetone, duct tape, tyvek tape, red tape, blue tape, painters tape, Behr Premium Plus paint & primer, electrical wiring, “100% renewable energy”, door hinge, silk screen, polaroids, picture, styrofoam on styrofoam 96” x 96” 2024

Untitled (thank you gram!) Art supplies, memory of gram, “thank you” 84” x 48” 2024

it might be a sprint… Cropped image of a sprinter 48” x 59” —> 40” x 54” 2024

you didnt see me acrylic, gesso, graphite, conte, pastel, duct tape, picture of me holding a picture of me taking a picture of me on foam board 48” x 34” 2024