Exhibition of new works by the artist Genesis Tramaine on view at Almine Rech Aspen

The First Art Newspaper on the Net    Established in 1996 Tuesday, June 18, 2024

Exhibition of new works by the artist Genesis Tramaine on view at Almine Rech Aspen
Genesis Tramaine, Jesus loves me: Still, 2021. Acrylic, oil sticks, oil pastels, gouache, acrylic ink, Spray Paint, Holy Spirit, 76.2 x 58.4 cm. 30 x 23 in. 32 5/8 x 25 1/8 x 1 1/2 in (framed).

ASPEN, CO.- Almine Rech Aspen is presenting Worship Works, an exhibition of new works by the artist Genesis Tramaine. This is Tramaine's third solo exhibition with the gallery, on view from July 16 to August 1, 2021.

WORSHIP WORKS! Inspired by my belief in Gods grace and Mercy! Is an affirmation series that informs my faith energy. I wanted to draw’ closer to God literally! So I spent a lot of time drawing... sketching... sometimes with my eyes closed, in hopes of giving further trust to God, a blind space. I allowed my self to be led, by the Holy Spirit! I dare not draw God but I can draw on Jesus and draw closer to his message of love. These worship works’ help me to be bold in my belief that God is for all Of us. God is bigger than our immediate and furthest understanding. I needed to rely on love to be used to birth these gospels, so I prayed for the presence of the Holy Spirit to occupy me, to use me. I’m so grateful for this guidance, it has allowed me a self depth that transforms the work. There is a maturity, with this body of work, a comfort in my belief in Gods love for me. Each portrait is a testimonial prayer map, a physical manifesto of worship in devotion to Christ Lord Yahweh! While the works present portrait focused, they are aimed to detail the gospel, the good news! God Loves us all! - Genesis Tramaine

To close your eyes and move is to take a leap of faith, and Genesis Tramaine is one of the faithful. She began many of the paintings in Worship Works by shutting her eyes and letting the Holy Spirit guide her, unsure of where it might lead. Blind contour drawings, as they’re often called, are best completed by raising or shutting one’s eyes and letting the hand trace a pencil, pen or oil pastel across a page, never lifting it until the work is finished. Here, they provide a framework upon which Tramaine later labors with a host of other materials – gouache, acrylic, oil stick, spray paint – until a face, warm and fleshy, emerges. Call it divining, a way of finding light in the darkness.

The Prophet Isaiah was particularly fond of the blind: “I will lead the blind by ways they have not known, along unfamiliar paths I will guide them; I will turn the darkness into light before them and make the rough places smooth.” (Isaiah 42:16) Rough into smooth is also every artist’s dream. By refusing to allow her vision to cast doubt on what her hand can already feel, Tramaine places her trust in a sacred process. Creation, after all, was the first work of art.

The affirmations of each title – Jesus loves me and Jesus knows it’s me, for instance – are likewise truths Tramaine doesn’t need to see. Her conviction allows her to become a kind of medium for material she considers holy, and to that end, “Holy Spirit” is listed among her paints. Working a paper or canvas into something beautiful and new is a kind of anointing. When the Tower of Babel fell, the Holy Spirit anointed all people with tongues of fire, giving them different languages which they struggled to understand. Tramaine’s unique aesthetic language coheres here into portraits that are clearly legible as human faces, even though their features are too abstract to identify. They might be angels or everymen; she calls them “blueprints of my prayers.”

Tramaine listens to contemporary gospel or jazz while she works, inscribing the energy and power of the music onto her canvases. Swift, repetitive gestures for a rounded hairline, a set of braids or a pair of lips lend their surfaces a frenetic visual rhythm. Many of these faces have multiple sets of the same features: in Jesus knows it’s me (all works 2021), for instance, the subject has at least eight eyes. In Jesus loves me: Middle Road, the circular gesture that forms a pupil could also be nostrils, studded above and below a pair of full, blushing lips. In each painting, bold lines in paint or oil pastel denote jaw and hairlines, bounding the concatenating shapes within them. The portraits are studies of what the artist calls the American Black Face, their features exaggerated to better capture the expressive soul of Black people.

Jesus healed the blind, but he was clear that blindness itself was not a defect. Vulnerability – physical or financial – has no impact on an individual’s worthiness in the eyes of God. Willful, momentary blindness allows Tramaine to better perceive this message of love, and to transmute it into a heavenly chorus for us all to see.

- Evan Moffitt, Writer and Critic

Today's News

July 26, 2021

Exhibition at Tate Liverpool features some of Lucian Freud's most iconic paintings

Pope.L's first solo show in London in more than a decade on view at Modern Art

At Paisley Park, Prince's 'aura of mystique' lives on

Amateur fossil hunters make rare find in U.K. using Google Earth

London Art Week Summer 2021 exhibitions draw delighted UK clients and visitors in person once again

Fundació Vila Casas Museum of Contemporary Sculpture opens "Miró, Gaudí, Gomis: The Magical Meaning of Art"

Exhibition of new works by the artist Genesis Tramaine on view at Almine Rech Aspen

Rescuing China's muzzled past, one footnote at a time

Blum & Poe exhibits a suite of twenty abstract paintings by artist Kenjirō Okazaki

The Salzburg Festival opens in search of elusive peace

Harn Museum examines Black life in new "Shadow to Substance" exhibition

Major works of modern and contemporary art recently added to Honolulu Museum of Art's collection

Exhibition focusing on historic effort that saved thousands of young lives on view at American Swedish Institute

A vogue legend, still enlarging circles of pleasure

Gost Books to publish 'Campesino Cuba' with photographs by Richard Sharum

G Editions announces the publication of The White Album of the Hamptons" by Christophe von Hohenberg

Jack Shainman Gallery exhibits eight new weavings by Diedrick Brackens

Biennale Gherdëina announces Lucia Pietroiusti and Filipa Ramos as curators of 8th edition of the festival

France's 'king of lighthouses' wins UNESCO heritage listing

With first posthumous album, Prince pierces the American condition

Festival-goers revel in return of live music at London's Kaleidoscope

Turkey says UNESCO criticism of Hagia Sophia conversion 'biased'

Gayle Garner Roski exhibition celebrates life in the wake of her battle with ALS

H&H Classics offers stalled 1958 AC ACECA Bristol project

Inspiring Ceramic Artwork: Abstract Vases and Unique Sculptures as the Best Additions to Your Interior

10 Tips for Becoming a Distributor of Official Pentax lenses- An Ultimate Guide

What Are Your Accommodation Options For the Munich Beer Festival?

How to Become an Owner Operator Truck Driver

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Royalville Communications, Inc

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful