Suni’s Gaze 2020

Editor: Here we have Lanise Howard’s oil painting, “Suni’s Gaze,” created in 2020. The first thing that strikes me is the woman's direct, confident stare, but I’m also drawn to the unusual blocky shapes hovering above her head. How do you interpret this work? Curator: It's interesting you pick up on that tension, because it encapsulates the core dialogue this painting creates. The realistic, almost classical portraiture style clashes intriguingly with those digital-looking blocks. This tension, for me, speaks volumes about identity in our hyper-mediated age. Consider how Black women, historically underrepresented in art, are now taking control of their representation. Do you see those blocks as a disruption, or something else entirely? Editor: I think it's both! They disrupt the classical feel, definitely, but they also feel like a crown of sorts – like a reclaiming of digital space. Curator: Precisely. Think about the digital sphere, with its potential for both empowerment and misrepresentation. Howard seems to be acknowledging this duality, creating a space where classical portraiture and digital abstraction meet, symbolizing perhaps, the layered identities Black women navigate. The "gaze" in the title, then, is crucial – it’s a reclaiming of agency. Editor: That makes a lot of sense. So the gaze is almost defiant in a way? Curator: Absolutely. It challenges viewers to confront their own preconceived notions and consider the complex interplay between historical representation and contemporary digital identity. Editor: I’ve learned to appreciate how historical context deeply affects art, and that art provides tools to create powerful conversations. Curator: Indeed, it’s about recognizing how art can challenge us to consider broader cultural narratives and power dynamics.