![]() ![]() The title is all about owning that you’re bringing all of this weight-this personality, whichever form that you’re in and however you’re feeling-into the space. This person is being kind of let go, and sucked into this whirlpool. One morphs into a face, and for the other nipple, I used a soft sculpture. T he breast had taken on this other energy, swimming behind her. It’s like she’s carrying all this weight, but also trying to succeed in love, in a way. It’s contrasted between the purple and the yellow, which feels very whimsical, like a French clown, but also very seductive because of the fishnets. The hands are grasping the butt, but then these clouds also started popping up in the piece. “We All Look Back At it (Morning Ride)” If you don’t think that black women feel pain, imagine what other emotions you don’t think are being felt.” ![]() It made me think about women, specifically black women, where it’s been a proven fact that doctors and scientists don’t sense that black women feel pain. I was really affected by that-this natural phenomenon that we just weren’t aware of. I wrote a poem for the statement of the show after I saw a photo of the black hole in the news. This face is kind of an all-seeing face because it’s separated from the body. But I also wanted to capture the tiredness in her eyes, the softness. It shows her moving out of this gray space into this colorful one, and what that means feeling-wise. “ I wanted to capture a lot of energy and a lot of motion in this one. “Here We All Go (Stepping Out to Step In) ![]() I want to raise conversation in the work about finding love and acceptance of all forms of yourself because they make you who you are, and they’re part of your journey moving forward.” I feel there’s many directions of my self, and it’s a work in progress loving all those different aspects. The scrotum flower is mimicking the legs, and the feet are all detached. I’ve been working with the legless woman for a few years now, but I’m just starting to incorporate other forms of legs to attach to her. I’m interested in these ghost-face spaces and the contrast between the opaque figures. Her eyes are very gentle, but the motion of her legs are popping up in the blue areas that are popping through the transparency. “I Already Let That Shit Go (Moving On)” It’s a lot of fire.” Below, Chromati talks us through the exhibition, which explores black vulnerability, the power of the female form, and the twisted beauty of a scrotum flower. Can I Bring a Few Guests? (Me and Me’s)” is a nod to fully owning one’s habit for lateness.) “ That’s me,” she says. Whether with an interplanetary eyeball, a fishnet-checkered harlequin leg, or a butterfly-encrusted ass, Chromati’s canvases are unabashedly corporeal, dizzyingly surreal, and never without a sense of humor. The Guayanese-American artist from Baltimore is debuting her first solo show, Running in Place and Sometimes Walking: At Times I Feel Loved and Paralyzedat Kravets Wehby Gallery in New York’s Chelsea, now on view through June 22. Chromati’s hair is arranged in neat, swirls on her head as if lifted from a Van Gogh painting her eyebrows drawn on, thin arches in electric blue. ![]() Without even looking at the paintings of artist Theresa Chromati-those of discombobulated women exploding with corporeal color-it’s not difficult to glean her penchant for all things graphic. All images courtesy of Kravets Wehby Gallery. ![]()
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