Oil pastel and fabric dye on Paper26 x 19 Available
In the oil pastel image, entitled Home, Glen combines two profiles, superimposed upon a fragment of an American flag. The profiles are internally united by an image of a shotgun house, within which a sequence of interlocking red, black, and green triangular, geometric shapes are shown. The image succinctly connects allusions to the evolutionary nature of African-American identity by using the geometric patterns of red, black, and green colors associated with Pan-Africanism (as initially espoused by Jamaican social and political activist Marcus Garvey) with the image of a vestige of the history of enslavement in the Western Hemisphere, the shotgun house, thought to be an adaptation of African traditional architecture, all of which seems to suggest an African core of cultural traditions transferred into a new context in America.
In the oil pastel image, entitled Home, Glen combines two profiles, superimposed upon a fragment of an American flag. The profiles are internally united by an image of a shotgun house, within which a sequence of interlocking red, black, and green triangular, geometric shapes are shown. The image succinctly connects allusions to the evolutionary nature of African-American identity by using the geometric patterns of red, black, and green colors associated with Pan-Africanism (as initially espoused by Jamaican social and political activist Marcus Garvey) with the image of a vestige of the history of enslavement in the Western Hemisphere, the shotgun house, thought to be an adaptation of African traditional architecture, all of which seems to suggest an African core of cultural traditions transferred into a new context in America.