Sessions 2020

Editor: Monica Ikegwu's 2020 painting, "Sessions", is striking! It seems to be an oil on canvas portrait of a young man, casually grooming himself against this vivid, almost theatrical, blue backdrop. What do you see in this piece, particularly from a historical perspective? Curator: I'm intrigued by how Ikegwu uses portraiture to explore contemporary identity. The backdrop, with its fabric-like texture, is reminiscent of traditional studio portraiture. Yet, the subject's attire - the branded sportswear, the gold chain - and his casual grooming routine, inject a distinctly modern sensibility. Consider how the very act of displaying Black men in this genre challenges historical conventions that often excluded or marginalized them from the art world. How might this seemingly simple portrait actually be making a broader statement about representation? Editor: That’s interesting. So, by placing him in this classically "artful" context, she's asserting a kind of presence and belonging that was historically denied? Curator: Precisely. The work could be read as an intervention into the history of portraiture. Note the casual confidence of the subject. Think about the public role of art and the politics of imagery – what message does this project by this image send to audiences, especially Black audiences? It also reflects the way social media shapes identity today, presenting curated versions of ourselves to the world. Editor: I never considered the connection to social media, but that makes a lot of sense. So it's about reclaiming and redefining traditional forms through a contemporary lens? Curator: Yes, in a way it becomes about owning and subverting those visual traditions. Ikegwu uses this moment to consider questions of representation, visibility, and power in a really compelling way. Editor: I’m really seeing that now; it’s more complex than I initially thought. Thanks! Curator: Absolutely! These are just some avenues for exploring its importance.