Ebony G. Patterson, Installation view, …while the dew is still on the roses..., 2018-2019. Courtesy of Pérez Art Museum. Photo by Oriol Tarridas.
Ebony G. Patterson, Installation view, …while the dew is still on the roses…, 2018-2019. Courtesy of Perez Art Museum.
Ebony G. Patterson, Installation view, …while the dew is on the roses…, 2018-2019. Courtesy Perez Art Museum.
Known for her drawings, tapestries, videos, sculptures and installations that involve surfaces layered with flowers, glitter, lace and beads, Patterson’s works investigate forms of embellishment as they relate to youth culture within disenfranchised communities. Her neo-baroque works address violence, masculinity, “bling,” visibility and invisibility within the post-colonial context of her native Jamaica and within black youth culture globally. This exhibition focuses on the role that gardens have played in her practice, referenced as spaces of both beauty and burial; environments filled with fleeting aesthetics and mourning.
— From the accompanying text
Ebony G. Patterson, installation view, …while the dew is on the roses…, 2018-2019. Courtesy Perez Art Museum.
Ebony G. Patterson, Installation view, ….while the dew is on the roses…., 2018-2019. Courtesy Perez Art Museum.
Ebony G. Patterson, Installation view, …while the dew is on the roses…, 2018-2019. Courtesy Pérez Art Museum.
Ebony G. Patterson, Installation view, …while the dew is on the roses…, 2018-2019. Courtesy Pérez Art Museum. Photo by Oriol Tarridas.
Ebony G. Patterson, Installation view, ….while the dew is on the roses…, 2018-2019. Courtesy Pérez Art Museum. Photo by Oriol Tarridas.
Ebony G. Patterson’s solo exhibition …while the dew is on the roses… is on view at the Pérez Art Museum in Miami through May 5.
Through her body, the location, a flag, and written language Josephine Lee's video installation at Unrequited Leisure gives a physical interpretation of an outsider’s attempt to manage alienation.