School of Art alumnus and Canadian artist Kareem-Anthony Ferreira was featured as Nino Mier Gallery Los Angeles’ first solo exhibition September 12 – October 3, 2020.
Kareem-Anthony Ferreira, a first-generation Canadian, completed his BFA at McMaster University in Hamilton, Ontario in 2012 and his MFA at the University of Arizona in 2020. Using a combination of painting and collage, Ferreira builds richly textured surfaces upon large-scale unstretched canvases, depicting intimate scenes that negotiate his Canadian and Trinidadian heritages.
After meeting with Nino Mier Gallery staff in January, Ferreira discussed doing a show at the gallery in 2021. As with many exhibition, a different show scheduled in London was canceled this summer so Ferreira was able to send work to Nino Mier much earlier than expected.
“It is unbelievable opportunity you have a show in LA at such an established gallery. I am honoured to have been asked to do the show and thankful. The response has been great. I have been able to connect with a large group of artist curators and other creative people and was lucky enough to receive representation through Nino Mier gallery,” said Ferreira.
Kareem-Anthony Ferreira (b. 1989, Hamilton, Ontario; lives and works in Hamilton, Ontario) has exhibited works at Johannes Vogt Gallery, New York; Alice Yard Gallery, Trinidad and Tobago; the Tucson Museum of Art, Arizona; DeFacto Gallery, Ontario; and the Workers Art & Heritage Museum, Ontario.
“In my work I am tracing patterns of personal, familial and social identity within the genre of black portraiture. In an effort to shift the overly simplified perceptions that my two disparate familial communities hold toward the other, I offer visual re-creations of both identities, personal family traits, and events. The experiences and narratives that manifest in each work are the result of combining several vernacular photographs into a compositional arrangement. The paintings display an accumulation and assemblage of disassociated objects motivated by my family’s compulsive repurposing of ordinary materials. I similarly repurpose these materials by incorporating them onto the surface of my paintings. Patterns are taken from commercial representations of the Caribbean and are meant to be easily identifiable, cliché, and at times, sarcastic.
“The social imaginaries placed on these non-indigenous patterns and textiles satisfy North American desires for a mental state of ‘island life’ characterized by ‘island dress.’ The commercialized and mass-produced patterns serve as a mechanism for psychological transport to the Caribbean, an unspecified fictional location whose primary purpose is to serve its visitors as a space of escape and entertainment. Caribbean, and specifically Trinidadian identities are flattened and stripped of their historically transcultural and transnational complexities. In my paintings, I explore the island imaginaries through a personification of repetitive flora and fauna patterning, which sits in contrast to the emotional sincerity I convey through the human figures and expressions. My reverence for my hybridized community is conveyed through my portraits of the black body as individuals or groupings, the family unit or community gathering to participate in the everyday lived experiences.”
– Kareem-Anthony Ferreira, 2020