A conversation with Trinidadian <PERSON>, the artist who created compelling American flag image for TIME magazine: Part II · Global Voices
Artist <PERSON> working on the commissioned cover for TIME magazine's “The New American Revolution” issue. Image courtesy @artyouhungry, used with permission.
The cover of TIME magazine's August 31-September 7 issue, titled “The New American Revolution,” boasts an embroidered image of the American flag, with a needle stuck into the thread of one unfinished end — a story that is still unfolding, especially for people of colour in the “land of the free.”
The cover art was designed by 23-year-old Trinidadian <PERSON>. TIME's art director, <PERSON>, was impressed by her photorealistic painting of <PERSON>, which he spotted on Instagram, and invited her to create the cover for this special issue.
The project fits perfectly into <PERSON>’ creative identity as an “activist-artist.” In this, the second part of my interview with <PERSON>, we discuss that identity, as well as other difficult issues she has tackled as she strives to use her art as a bridge to understanding.
Trinidadian artist, <PERSON>. Photo courtesy @artyouhungry, used with permission.
<PERSON> (JMF): It’s so fitting that an image created by a “foreigner” is the symbol for TIME magazine’s exploration of America’s current reality: fierce nationalism in a country built by immigrants, unresolved issues around race, exploding gun violence, vast inequity. What did your reassembly of the US flag strive to accomplish?
<PERSON> (NJ): This hand-embroidered flag was created with the intention of signifying optimism and hopes that we can all work together to build a brighter future. This nation has a great impact on many other countries around the world, and so it is important that we understand the importance of equality. Currently, Black people and people of color are calling for the opportunity to excel in higher level positions and with the push to elevate the Black entrepreneurs, visionaries and creatives like myself, it allows for inclusivity and can hopefully bring about a better America and better world.
<PERSON>: How difficult was the ombré effect to achieve and what was the significance of blending the colours in that way?
<PERSON>: Given that I was limited to 24-hours to complete this piece, it was definitely a challenge to ensure that the ombré effect was up to my standard of work. It was also important as this effect was particularly symbolic of a more hopeful future and the shift and transition to allowing black people and people of color a voice, a space, and a chance at achieving greatness.
<PERSON>: You’ve been living outside of Trinidad for some time now, yet the visual language of T&T is strong — almost defiantly so — in your work. Tell me about the impact of those beginnings and that identity on your art. 550
It’s like you’ve turned <PERSON>’s familiar, comforting embroidery on its head and repurposed it for the frontlines of battle.
<PERSON>: While living in Trinidad, I was always influenced by the flamboyant colors and vibrant culture that we have, and had always incorporated this in my work as it was a reflection of the Trinbagonian spirit. However, as I have grown into my artistic skin, I am able to use these same colors to draw attention, as well as communicate symbolic meaning in my pieces. The colors that I use now are very intentional especially as seen in my most recent series, ‘Targets Variegated,’ where I use the colors of a traffic light to tell a story of Black women and children reclaiming their rights.
A piece from <PERSON> ‘Targets Variegated’ series. Image courtesy @artyouhungry, used with permission.
<PERSON>: That ‘Target’ series is one of your most startling pieces of work. It's aimed at raising awareness about sexual abuse and human trafficking. The use of condoms around the images of these girls and women is disturbingly provocative. Tell me about the ways in which you use your art to engage in discussion and effect change.
NJ: [The] series is a call to everyone to look closer and pay attention to what is currently happening in society. It highlights the statistics where [most] sex trafficking victims are young, beautiful, innocent girls of color. Hence, the series features hundreds of condoms on each canvas, layered in a ‘target’ pattern, drawing the viewer’s eyes to the eyes of the victim. 216