Basil Kincaid: All in One Feeling, and Donté Hayes: Future Artifacts, at Mindy Solomon Gallery
Channel: MSA eXperimental
Date: 07/05/2022

Basil Kincaid: All in One Feeling, and Donté Hayes: Future Artifacts, at Mindy Solomon Gallery

All in One Feeling

Mindy Solomon is pleased to present the inaugural solo exhibition of Basil Kincaid, All in One Feeling. A significant artist within the gallery roster, his Miami debut is long overdue.

Kincaid has developed a body of work that explores his first love, drawing, and the techniques expanded relationship to painting, textile, and community building. Having formally moved to Ghana in 2020, Kincaid brought with him an open heart and an open mind as well as a need to find and build community. Kincaid’s generosity of spirit and passion for his artistry inspired him to invite artisans from Accra to support his studio practice. Kincaid shared in his artist statement: Each piece, born from an initial drawing on paper that’s then scaled onto canvas and painted in the thread, represents the process-oriented, collaborative, and imaginative tenets of Kincaid’s methods. As the work is drafted, translated, expanded upon, and finished, it passes hands, moving on from Kincaid and into the care of Kincaid’s team of embroiderers working in the Ghana studio. They sew a range of stitches, building textures and sculpting the fabric into its final form, at which point the piece is framed in kente —a significant and symbolic West African fabric that can convey specific meanings and circumstances.


Donté Hayes: Future Artifacts

Artifacts are a tangible history that has the capacity to retain, transform, destroy, erase and evoke lost knowledge. My artwork is informed by researching traditional African heirlooms and initiation rites of birth, adulthood, marriage, eldership, and ancestry which are essential to all human growth and speaks to the greater African diaspora. Along with my interest in history, science-fiction, and hip-hop culture, I utilize ceramics as a historical and base material to inform memories of the past. The handling of clay reveals the process and shares the markings of its maker. By using a needle tool, I create individual marks on the surface of the clay with each strand becoming a collective form. I compare the construction and deconstruction of materials to the remix in rap music and how human beings adapt to different environments and reinvent new identities.