Very little appears to be happening in some of Jamilah Abdul-Sabur’s imagery, and perhaps that is precisely her message. For her project at Diaspora Vibe Gallery, the young artist documented people as they navigated down-at-the-heels sections of Baltimore, attempting to focus on the socioeconomic disparities among many of that city’s residents. Typically her protagonists find themselves stuck in very bleak spaces. They also seem helpless and unable to escape their dreary surroundings. A man lies on his back in an anonymous interior, his figure outlined by a nimbus of broken glass. A young fellow stands in a hallway, listlessness masking his face. A closeup of a woman frames her against a building full of shattered windows. Abdul-Sabur’s “... believe, in what?” features video, photography, and installation depicting three characters and their interactions within an abandoned Baltimore factory. The gritty exhibit is presented as part of the gallery’s new Off the Wall/Experimental Lab Series organized to engage audiences in nontraditional ways.
Memory, historical connections to Cuba and Africa, her dislocation and that of her ancestors fuel the 17 major works that comprise the Campos-Pons retrospective Everything is Separated by Water at the Bass Museum in Miami Beach.
''Her work is about constructing identity and cultural histories,'' says curator Lisa D. Freiman, who organized the retrospective for the Indianapolis Museum of Art, where it was staged more amply in 12,000 square feet of space. ``It's about who we become when we move to new places, and the feeling of not completely being whole in any place.''
'In my country, in my setting, in my town, `the problem' of being African wasn't about physical placement or about land,'' Campos-Pons explains. ``When we talked about Africa, we didn't talk about the continent. Africa was in my Cuban backyard.
''Africa was my father, my mother, my cousins and my aunts and uncles,'' she adds. ``They played the drums in the patio at all hours. The question of Africa arose from the point of view of the United States. When I was in Cuba, it was never a question.''
Using paint, herbs and wood sculpture -- sight, sounds and smells -- Campos-Pons conjures the image of the forest where the gods of santería are said to dwell. The forest also is the realm of their messenger and keeper of the roads, Eleguá, the orisha after whom Campos-Pons titles another work, The One Who Opens the Path (1997), a composition of 10 mammoth Polaroid Polacolor photographs.
Likewise, in another piece, The Seven Powers Come by Sea (1992), the seven orishas of the Yoruban pantheon are present in large wood sculptures that resemble slave ships and are carved with stick figures, showing how slaves were tightly stacked on ships sailing to the New World.
The Sankore Institute and the Logan Islamic Community Center are happy to announce that we will be holding our 5th annual Rawdah Deen Intensive in San Diego, California on March 7th, 8th and 9th of 2008.
This year theme will be "The reality of spiritual excellence (Ihsan)". Our teachers for this years Rawdah will be Shaykh Sayyed Muhammad ibn Yahya Al-Husaini An-Ninowi, Imam Zaid Shakir and Ustadh Muhammad Abd'l Haqq Mendes.
The text that we will be going over are Al-Muqasid of Imam Nawawi (The section on Tasawwuf), Al-Hikam of Ibn Att'Illah and the Shukr Ihsan of Shaykh Abdullahi Dan Fodio.
We pray that you all will be able to attend and benefit from this deen intensive. Please come visit our website:
http://www.therawdah.org
Register early because space is very limited.
Amir Tariq Al Fudi
San Diego
