Hear no evil 2022

Editor: Here we have Lanise Howard's "Hear no evil", created in 2022 with acrylics. It's a really striking figurative piece, and I am immediately drawn to the tenderness and vulnerability of the figures. How do you interpret this work? Curator: Well, I think it's crucial to consider the title in relation to the visual representation. The pose, the embrace, evokes intimacy and care, but the title “Hear No Evil” adds another layer. Is this about willful ignorance? Or protection against negative outside influences? Editor: That's interesting! I hadn’t considered the tension between the figures' apparent serenity and that warning. Do you think it speaks to a broader social issue? Curator: Absolutely. Considering the artist's identity, and the fact the piece includes a Black couple, one might interpret it through the lens of race and visibility. The pressure to ignore societal injustices, the conscious decision to find peace despite them—it all becomes very poignant. Perhaps it touches on resilience and the need to protect oneself emotionally from constant exposure to negativity. How do you feel it addresses contemporary discussions about Black love and representation? Editor: It's true, the figures appear grounded. I now also read the embrace as shielding oneself against systemic pressures, with a definite intentionality on maintaining the union depicted here. It's quite powerful to witness the interweaving of personal and political spheres in this piece. Curator: Exactly, art gives form to intangible emotions and provides tools for difficult conversations, right? Editor: Indeed, that balance between intimate moments and systemic analysis makes this more meaningful for me now. Curator: Me too. The intersectionality of identity, experience, and representation keeps challenging and teaching me!