iliana emilia García & Scherezade García: Landed

  • iliana Emilia García & Scherezade García

  • Unquiet Objects: Works by iliana emilia García and Scherezade García

    Marisa Lerer

    The movement of people has continuously shaped cultures across the globe. Landed explores this convergence and confluence of peoples, interactions, ideas, and the materiality of memory through the introspective lenses of iliana emilia García and Scherezade García’s collages, prints, drawings, sculptures, and installation. These pensive artists are sisters who engage intimate shared family histories and both the symbolic and use value of quotidian objects. Their unquiet objects experienced here—including chairs, boats, and life preserver rings—speak to us about the repeated imagery and experience of traveling, leaving home, and creating roots in familiar and new spaces.

     

    iliana emilia and Scherezade approach overlapping issues, address similar problems, and ponder the same questions in their work such as: What are the borders that need to be physically and metaphorically crossed? How does history shape our daily movement and interactions? How do we flow and where do we sit? Despite these shared interrogations, they create deeply distinct aesthetic solutions to these inquiries. iliana emilia sometimes engages frenetic, rigorous lines and often maintains a grounded geometric, repetitious and tonal quality to her work. In turn, Scherezade’s imagery embraces swirling and undulating compositions complemented by a vivid and vivacious color palette. Her watchful figures are sometimes depicted amidst rolling waves.

     

    The García siblings began life playing together as children. They both pursued studies at Altos de Chavón, School of Design in the Dominican Republic and then at Parsons, The New School. Scherezade went onto an MFA at City College CUNY and iliana emilia earned an MA focused in biography at the CUNY Graduate Center. Recently, for the first time, they began working together in the same Brooklyn studio in Sunset Park. This shared space led them to initiate their collaborative artwork, which invites viewers into the intimacy of a family room and an enveloping imaginary of home. Their collective installation echoes a beloved space of their youth where odd and irregularly sized photographs once greeted visitors and their family with shared histories. iliana emilia’s and Scherezade’s place-based practices are rooted in memory and storytelling. In this current exhibition, viewers can experience works from various periods of their careers that engage ideas of passages and crossings. Their most recent works prompt a sense of moving beyond the journey to a feeling of arrival and of return.

  • Creating "iliana emilia García & Scherezade García: Landed"

  • Artist Biographies

    iliana emilia García

    Born in Santo Domingo, Dominican Republic, 1970

    iliana emilia García is a drawer, painter, printmaker, and installation artist who works in large format drawings on canvas and paper and escalating installations depicting her most iconic symbol: the chair. Her work often explores concepts of emotional history, collective and ancestral memory, and intimacy.

    A co-founder of the Dominican York Proyecto GRÁFICA, she holds an AAS from Altos de Chavón School of Design, a BFA from Parsons School of Design | The New School, and an MA in Biography and Memoir from The Graduate Center, CUNY.


    Her work has been written about in numerous art publications and catalogues. García has been featured in solo and duo exhibitions at the Art Museum of the Americas, Taller Boricua, Hostos Community College, New York, and exhibited at BRIC, Brooklyn, NY; Exit Art, NY; No Longer Empty at Sugar Hill, NY;  Smithsonian American Art Museum, Washington, DC; El Museo del Barrio, NY; Aljira Center of Contemporary Art, Newark, NJ; Leonora Vega Gallery, NY; Howard Scott Gallery, NY; NOMAA, NY; Joan Guaita, Spain; the 3rd Triennial Poli-Grafica, San Juan, Puerto Rico; Barnard College, NY; Museo de Arte Moderno de El Salvador and many other venues. Her work is included in the permanent collections of the Smithsonian American Art Museum, El Museo del Barrio, The Metropolitan Museum of Art, The Blanton Museum of Art, Texas, Museo Bellapart, El Museo de Arte Moderno in Santo Domingo, and others.

     

     

    She has also had a long career in fashion graphics, creating art for companies such as Guess Jeans, Gap, Rocawear, Calvin Klein Jeans, Nautica, Tommy Hilfiger, and others. An edited monograph on her work iliana emilia Garcia: the reason/ the word / the object, was published in 2020 by the Art Museum of the Americas, and edited by Olga U.Herrera, PhD. Furthermore, her artist's papers can be found at the Archives of American Art, Smithsonian Institution. She currently lives and works in Brooklyn, NY.

     

    Scherezade García is a Dominican-born New York artist who currently lives and works between Brooklyn, New York, and Austin, Texas. García is a co-founder of the Dominican York Proyecto GRÁFICA, and she holds an AAS from Altos De Chavón School of Design as well as a BFA from Parsons School of Design | The New School and an MFA from The City College of New York, CUNY. She is also the recipient of the Colene Brown Art Prize (2020) and the Joan Mitchell Foundation Painters & Sculptors Grant (2015). Scherezade sits on the Board of Directors of the College Art Association (2020-2024) as well as being a member of the Artist Advisory Council of Arts Connection and No Longer Empty.

     

    Her practices include painting, printmaking, and installation art, where she explores cultural colonization, politics, allegories of history, collective and ancestral memory and migration. García is the storyteller for her visual works, as she creates narratives alluding to the emotional physicality of art making. For García, she feels, “There is an urgency of a concept to keep alive." "The physical and emotional experience of drawing is essential” to García’s art making.

  • Influences

    iliana emilia García’s work focuses on the “poetic and emotional examination of the history of objects.” Through this, she focuses on the value assigned to objects, such as those that we own, those that come from our homes, and those that follow us through life. Certain objects, such as the chair, are seen as a recurring object which holds memories and signifies resilience. In her work, García visually documents objects that “trigger or build up memory.” Her work aims to link "objects, places, and emotions to convert [the objects themselves] into storytellers in their own right.” For García, the chair represents tradition and visual history; the heart represents a public symbol of intimacy within communal activities. Each of these symbols represent remembrance and can be interpreted as an icon through which history can be told. The objects also represent emotional comfort and demonstrate García’s constant search for satisfaction in tradition. 

     

    Scherezade García is endlessly inspired by her fascination with the social human experience since the “discovery” of America and its multifarious results. This idea is an essential part of García’s discourse and has led to themes in her art such as the mestizo and barroquism as consequences of colonization, the consequences and causes of migration, the questioning or religious and social uses of the notion of paradise and the inversion of traditional beliefs of salvation. García uses and transformed symbols and objects that include life jackets, suitcases, inner tubes, tents, religious icons, and newspaper clippings, to create allegorical narratives.

  • ARTIST STATEMENTS, iliana emilia García
    iliana emilia García in her Brooklyn studio

    ARTIST STATEMENTS

    iliana emilia García

    My artwork is deeply rooted in the concept of home, emotional history, and memory, while exploring the notion of material as a signifier. I delve into themes of identity and the strategies artists use to convey their messages, aiming to challenge cultural stereotypes and interrogate constructs of race, ethnicity, gender, and identity. Through my work, I strive to provoke thought and encourage dialogue about these critical issues by using art as a powerful means to reflect and question the world around us.

     

    At the core of my work is a poetic and emotional examination of the history of objects. I explore the value we assign to what we own from the places we come from and that which we keep through life’s journeys and crossroads.


    In my previous work, there was a recurrence of piled objects telling a story of resilience, accumulation of stories, and an emphasized focus on memory. I have been emotionally documenting things that trigger and build up my memory and scavenging clues to link humble and ordinary objects to places and emotions that became storytellers of my own story. Recreating a life on their own and defining space, time, and legacy.

     

    The constant repetition of an object allows the subject to become, exist and evolve.
    The redundancy does not bring monotony but a time-lapse sequence of a mind in progress and life as it is lived, unpredictable even when planned, and inconsequential even with a purpose.
    I write as I draw, and I draw when I write. The words become objects when placed and written and later subjects when read and understood. It's a two-step process; first, one of beauty, and second, one of meaning and comprehension. Is what I see what it means to be? Is meaning significant? Or are placement and representation pivotal to the consequences of the interaction with a sentence?


    I only want to marry the image with the words. I imagine the words. When I write them down, they become something else; their meaning is an outer layer. So what do I do to convey everything together? Three complete individual tasks are what I imagine, how they look, and what they mean. I intend to merge my three realities and instruments into one: the art (drawing words), the object, and the reason.


    Do I read to understand? Or to enjoy the beauty of the language? Do I draw for you to recognize the object or make it yours and create your own story? Do you read to find solace and refuge? Do you look at paintings to inhabit a new world and make it yours?


    I paint to tell stories that become yours when you become part of the conversation. When, and if it would do, it touches you, plants a question or questions a thought, awakes thinking, or becomes a genuine or imaginary mirror of your existence, the real or the desired one. I don't paint to depict objects but to face and confront matters of longing, melancholy, emotional distance, elation, displacement, encounters, settlements, paths, ways, and remembrances.

     

    I use coffee as the primary paint medium in my most recent series. Coffee alludes to home, place, and human interaction and indicates layered interpretations, remembrances, and movements. In bringing in domesticity with aroma and warmth, my work becomes a constant retelling of a past that keeps shifting, surprising us and inviting us to look deeper into human nature.


    On canvas and installations, my compositions emanate mappings of ancestry and personal history. They speak of human movements, migration, and constant evolution. They offer piles of stories to add to our present and create a chain of events, documentation, and intergenerational dynamics. They make us aware of the pockets of resilience among trauma and grief and solidarity amid injustices. It's a constant search for certainty for a definitive understanding that will outlive the experience.


    I live that I know. And I will always remember until I forget. Or I will never forget until I can not

    remember. Either way, I may always know.

  • Scherezade García
    Scherezade García in her Brooklyn studio
    Scherezade García

    My work is concerned with the creation of narratives that are essential to the understanding of Las Americas and the American experience. My work intends to unveil the many ongoing cultural encounters that continuously shape and reshape how we view, perceive, and color America. My work is centered on the politics of inclusion. History plays a central role in my artistic practice of decoding and deconstructing visual narratives of power. I engage history and historical ethnography to pay close attention to traditions, methods, and dominant societal points of view to visually bring forth other voices. Through the deconstruction, the juxtaposition of symbols of constructed Americaness, nationhood, and freedom embedded in slavery and oppression, I aim to present the most outrageous signs of resistance through the mixing of race, through a fierce optimism.

     

    Race, the politics of color (formally and conceptually) is essential to me.
    The cinnamon figure is a constant in my work since 1996. Mixing all the colors in a palette is an inclusive action, the outcome of such activity is cinnamon color. The new race, represented by my ever-present cinnamon figure, states the creation of a new aesthetic. This unique aesthetic with new rules originated by the lush landscape, the transplantation, appropriation, and transformation of traditions. Also, the catholic iconography with my mixed-race warrior/angels is my way of colonizing the colonizers...by appropriating, transforming, and creating new icons. The Atlantic, this blue liquid road and profound obstacle provokes my imagination. The blue sea represents the way out and the frontier. It maps stories about freedom, slavery, and survival. It carries our DNA, and it’s an endless source of stories, evolving continuously, reminding us of the fluidity of our identity, our collective memory. Resistance through beauty and joy.


    Las Americas transformed our world, created new values, a new race, redefined Christianity, and geography. In my neo-baroque tradition, with its inclusivity of spirit, I navigate between tragedy, beauty, carnaval, and traces of divinity.