ARTISTS
Jamele Wright, Sr.: Men Do Not Stand and Sleep, Only Elephants Do That!
Mindy Solomon is pleased to present Beyond Artifacts, the second solo exhibition of his work in Miami. This presentation is a continuation of Hayes鈥� ongoing series that examines the medium of clay as a language of history, identity, and futurity. Expanding on his 2022 solo exhibition Future Artifacts, this new chapter deepens his inquiry into how material and form can embody transformation, resilience, and ancestral knowledge.
鈥淢y ceramic sculptures function as 鈥榝uture artifacts鈥� that remix ancestral traditions, respond to contemporary realities, and envisions resilient futures. Influenced by hip hop culture and science fiction, I use clay as both material and metaphor, building forms that I inscribe with thousands of etched lines made by a needle tool. These marks accumulate into patterns that echo hair, raffia, scars, rituals, and inscriptions. Texture becomes a conduit to archive memory, offering new understandings of how time and repetition can be recorded in material form.
I work with black and brown clays to reflect how the African Diaspora moves through time and space while affirming the beauty of Blackness. In African and other Eastern cultures, black is understood as the color of knowledge, standing in contrast to the Western framing of white as purity. My research into West African textiles and adornment, such as kente cloth and the Ashetu, or Prestige hat, of the Bamileke people of Cameroon worn primarily by the elite during rituals and ceremonies, symbolizes authority and accomplishment. This investigation has pushed me toward experimenting with porcelain and colored porcelain.
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Mindy Solomon is pleased to present Beyond Artifacts, the second solo exhibition of his work in Miami. This presentation is a continuation of Hayes鈥� ongoing series that examines the medium of clay as a language of history, identity, and futurity. Expanding on his 2022 solo exhibition Future Artifacts, this new chapter deepens his inquiry into how material and form can embody transformation, resilience, and ancestral knowledge.
鈥淢y ceramic sculptures function as 鈥榝uture artifacts鈥� that remix ancestral traditions, respond to contemporary realities, and envisions resilient futures. Influenced by hip hop culture and science fiction, I use clay as both material and metaphor, building forms that I inscribe with thousands of etched lines made by a needle tool. These marks accumulate into patterns that echo hair, raffia, scars, rituals, and inscriptions. Texture becomes a conduit to archive memory, offering new understandings of how time and repetition can be recorded in material form.
I work with black and brown clays to reflect how the African Diaspora moves through time and space while affirming the beauty of Blackness. In African and other Eastern cultures, black is understood as the color of knowledge, standing in contrast to the Western framing of white as purity. My research into West African textiles and adornment, such as kente cloth and the Ashetu, or Prestige hat, of the Bamileke people of Cameroon worn primarily by the elite during rituals and ceremonies, symbolizes authority and accomplishment. This investigation has pushed me toward experimenting with porcelain and colored porcelain.
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