01/18/2021
Kip Omolade
“We didn’t have a lot of money when I was growing up. My mother was homeless when she had me. She stayed on friends’ couches and used an old suitcase as my crib. What we lacked in material things, she made a conscious effort to make up for in every other way she could. Even when our lives got better, my mother still took a lot of time and energy to invest in me. She’d always encourage me and tell me I would be a great artist someday.
When I was ten years old, she made a collage for me. She called it ‘My Son Is a Sun.’ There was a photo of me in the middle of a sunburst with lots of protest pictures on the left, including a protester holding the iconic ‘I Am A Man’ sign. On the right was a man in Africa, sculpting figurines. Even then, I knew not everybody’s mom was making things like this for them.
During high school, I was able to intern for Marvel and thought I’d go into comic book art, but when I learned that the artists didn’t own their work, I realized I wanted to go a different direction. I had a lot of experience in graffiti art, too. I grew up in Brooklyn and anything related to hip-hop was what we all wanted to do. Eventually, I enrolled at the School for Visual Arts and began studying traditional oil painting.
The project I’m most known for is my DIOVADIOVA CHROME series. It all began when my wife and I attended a gallery event in Florida. All the depictions of Black people featured them straining under the struggle of existence, and my wife asked, ‘Where are the beautiful Black people? Where’s our beauty? What are you going to do about this?’
I started studying the Kingdom of Ife and the sculptures from that culture. The masks were dipped in gold and bronze. When the Germans first found relics from this society, they couldn’t believe they had been made by Africans and tried to say the art was proof there was a lost city of Atlantis. Growing up, there were a lot of African masks in our home and my mother made collages of those as well.
The first people I made masks of were my wife and her friends. It’s a labor-intensive process—making the masks, then creating chrome casts, and using those as references for my paintings. The faces are metallic and bursting with reflective color, but I don’t bring race into the equation. It’s my hope that anybody can view these portraits and simply see them as beautiful faces. I’ve had people from all over the world contact me online to tell me that one of the pieces looks like their uncle or their sister. I think people have been having a hard time seeing themselves in other folk. Hopefully, my reflective masks help a little by letting people’s beauty be reflected back to themselves.
My latest project is titled GOD BODY and it uses the Black woman as the divine physical form. Black women’s bodies haven’t always been depicted as beautiful or dignified. This series features Black women in latex suits, reminiscent of superheroes. Going to museums in NYC as a kid, I didn’t see many representations of Black women. My paintings strive to enrich the art world with representations of Black faces and bodies for all people to see. If Michelangelo can use his cousin as the model for Jesus Christ, then I can use my sister-in-law as a model for the Divine.
So much of my art goes back to that collage my mother made—the bright sun, the Black protesters, the African man sculpting. She sowed the seeds of beauty and power so early. They sank deep in me, took root, and continue to break through the soil of my life.”
He, too, is America.
Made possible by Affinity Photo.