About Grace Nicole’s“Beyond”
I paid a visit to 500x Gallery this past weekend. My goal was to view Grace Nicole’s second solo show at the gallery. Being familiar with her work, I was interested in seeing the images she’s crafted and decided to show.
Although I made it there 30 minutes before closing, I felt like I had to break in by forcing open the gate and turning on the motion sensored lights. After driving 30 minutes into Dallas, I was determined to view this show.
The first thing I noticed was the journal entries. Worn journal entries, well assumed to be worn by the coloring of them. Various degrees of tan and brown. The handwriting is reflective in thinking about rest and what it means to explore it.
Questioning the way that black excellence is presented as the only way to access black joy, and the despair that comes from the resistance to that presentation.
“the feelings of deep depression because you’ve tied your value to your labor and productivity”
Honestly, the written entries felt like variations of my own thoughts. Being an artist going through artist block, while being a black woman who’s value has been tied to the amount and quality of work I create. Also, just pushing my self to work to exhaustion and using that as a testament of self worth.
In the photography. I’m interested in the environment, the amount of foreground ( Foreground is the part of the view or composition that is nearest to the observer, especially in a picture or photograph) provides space and for me, a direct perspective. A true snapshot feeling of the moment of it. I like that the figure can be central to the image while the details that they are interacting with are cut off with enough information being there for us to experience.
I have two show favorites. The image of Grace Nicole and her (assumed) lover and then the image of the artist on the bed.
I appreciate the framing in the first photo. There’s a spotlight on the moment of intimacy between the two figures. And the fact that we see the photographer in the image, taking the picture. With her eyes closed, we see the trust in the shot, trust in the person she holds and trust in her artistic vision.
Personally, in photography I enjoy when the figure isn’t looking at the camera, for me, it can feel less posed and more real. I love a good caught moment or candid image.
The genuine positioning of the figure in the picture.
For this image, we know that it’s posed, at least to a certain extent, because the photographer is in the photo, actively taking the picture. This could never be a candid shot. But it feels that way because of the true intimacy and closeness of the people there.
The artist on the bed is another favorite. The overall dark lighting in the image focuses our gaze, while the spotlight visits us again.
The overall dark lighting of the photo, with the dusk light coming in from the trees outside. The spotlight on the crumpled figure in the bed. The eyes slightly open in a soft, glassy eyed gaze.
I think I really enjoy the use of the spotlight because I’m thinking about the times that spotlights are usually contextualized, on stage during a dramatic performance.
The use of them in these two images is anything but that. Moments that are fleeting, like the close embrace, or the ones that seem to last forever, like the artist laying in a darkened room, are not typically on display for others to view.
But here, they are highlighted and pulled into the center.
I really enjoyed Grace Nicole’s self portraits in this show.
The focus on a black woman and herself and her thoughts and her vulnerability shown as she sees fit is invaluable.
Follow the artist on instagram at @gracenicc