A quilt becomes a painting at the California African American Museum in L.A.'s Exposition Park.
If you look at a painting and smile, it is disconcerting to suddenly realize that the painting is smiling back.This pleasantly perturbing exchange happens more than once in “Sanford Biggers: Codeswitch,” the fine traveling survey from the Bronx Museum of the Arts of paintings from the last decade by the Harlem-based artist, currently at the California African American Museum. Biggers’ skillful interactivity is one engaging leitmotif in the show.
On top of the grin, Biggers spray-painted a grid in light blue, visually stitching together a painted geometric pattern with the pieced squares of the domestic quilt. The contradictory use of a soft, drippy spray technique to render a firm, upright grid pattern suggests the public improvisations of graffiti.
Sanford Biggers uses antique quilts, rather than canvas, as the support for his paintings, on view at the California African American Museum. For “Hat & Beard,” Biggers also sewed red fabric rectangles onto the corner diagonally opposite the brushy blue, adding his own cloth pieces to an already pieced coverlet made by an unknown quilter sometime in an unmarked past. Soon, you notice other added pieces of quilting — notably a scattering of six-petal geometric flowers that are a variation on a traditional pattern sometimes called a “Dresden bloom.
Still, the show’s focus on quilt paintings is revealing. The original quilters’ race or ethnicity is likely unknown. But recycling found objects has been a hugely important tradition in Black art since the 1960s. Biggers approaches these antique quilts as tangible objects with authentic if anonymous histories, not simply as immaterial pictorial images.Sanford Biggers, “Reconstruction,” 2019, mixed media.
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