MARCH 2020-SEPTEMBER 2020
Moments from my installation Otherwise Perception in Project Row Houses Round 51: Local impact II.
Curated by Ryan N. Dennis
Click HERE to hear a conversation between Lanecia and Dr. Jessica Davenport about the work.
Photography by Alex Barber and Lanecia Rouse Tinsley.
Curated by Ryan N. Dennis
Click HERE to hear a conversation between Lanecia and Dr. Jessica Davenport about the work.
Photography by Alex Barber and Lanecia Rouse Tinsley.
“Otherwise” Perception is the culmination of contemplative practices, improvisational abstract composition, and handcrafted production. Inspired by Ashon Crawley’s notion of “otherwise” possibilities and potentialities — especially in Black social life — her work seeks to render alternative perspectives for understanding (viewing) our shared humanity and everyday quests to make meaning while grappling with fundamental questions of existence.
Lanecia’s art is known for subtle manipulations of color, texture, materials, and forms—all of which mirrors the intricate layers and landscapes of individual and communal identity, memory, experience, and history. In this installation, through collage and an assemblage of various created, found, reused, leftover material (morning coffee, paint palettes, scraps) and collected materials, Lanecia explores the myriad of creative ways that generations of Blacks have embodied “otherwise” possibilities for interpreting meaningful humanity in the world.
Over the next few months, the narrative patchworks that adorn the walls of this house will evolve as Lanecia continues to intuitively add various elements to the installation. In this exhibit, she appropriates images from Ebony magazines between 1940-1970 to create collage narratives that accent the need to view humanity outside “normative” gazes. Ebony and Jet magazines were cultural staples in Lanecia’s home and the home of her grandparents as a child. They were visual stories that provided a gaze of Black history and a life that was not dominated by the normative gaze. Each page was an entry into a world full of possibilities and would often lead to dreams of a future not-yet realized. Lanecia taps and invites viewers into this tremendous sense of potential and imagination through the utilization of images and other objects she found to be latent meaning-potential matter.
Lanecia’s art is known for subtle manipulations of color, texture, materials, and forms—all of which mirrors the intricate layers and landscapes of individual and communal identity, memory, experience, and history. In this installation, through collage and an assemblage of various created, found, reused, leftover material (morning coffee, paint palettes, scraps) and collected materials, Lanecia explores the myriad of creative ways that generations of Blacks have embodied “otherwise” possibilities for interpreting meaningful humanity in the world.
Over the next few months, the narrative patchworks that adorn the walls of this house will evolve as Lanecia continues to intuitively add various elements to the installation. In this exhibit, she appropriates images from Ebony magazines between 1940-1970 to create collage narratives that accent the need to view humanity outside “normative” gazes. Ebony and Jet magazines were cultural staples in Lanecia’s home and the home of her grandparents as a child. They were visual stories that provided a gaze of Black history and a life that was not dominated by the normative gaze. Each page was an entry into a world full of possibilities and would often lead to dreams of a future not-yet realized. Lanecia taps and invites viewers into this tremendous sense of potential and imagination through the utilization of images and other objects she found to be latent meaning-potential matter.
