In Toure’s book, “Who’s Afraid of Post-Blackness?”, he talk about “40 million ways to be black.” Early in this book, he talks about the freedom that New Blacks have to be themselves without feeling as though they are tethered to a past that they do not agree with or one that they are not a product of.
He acknowledges that the idea of Post-Blackness came from a conversation between Thelma Golden and Glenn Ligon now more than twenty years old. The term was born out a struggle of African American artists to be identified in ways that allowed their work to be seen beyond the sociological/stereotypical lens of “Black Art” by a society fatigued with being prodded about its intransigence related to retributions reneged on for 150 years
Truth is my work is a colorful reminder of promises unkept, imperialism still institutionalized, and stealth deceit that has stolen the dreams and birthrights of twenty generations of a once proud people. It stands in contrast to the canon just as Normal Lewis’ work stood in contrast to those who framed early abstract expressionism.
Yet, it is misunderstood in that while it is rooted in a place of targeted tragedy, the energy that drives its curvilinear twists, knots, and loops is the energy found in the souls of ALL those who toil triumph everyday against the odds and against the unheralded tragedies of life. My work is a universal story with both hero and villain, good and evil. The narrative is embedded like html code. It is not what one sees, but it can be decoded..