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Shabez Jamal : Close your eyes, and remember

Past exhibition
25 February - 8 April 2023
  • Installation Views
  • Works
  • Exhibition Text
  • Press
Installation Views
  • Installation01 Lr
  • Jamal Shabez 66
  • Jamal Shabez 68
  • Installation03 Lr
  • Jamal Shabez 48
  • Installation05 Lr
  • Installation07 Lr
  • Installation08 Lr
Works
  • Shabez Jamal - Hands
  • A scanned collage by Shabez Jamal showing faded or discolored family photographs intermixed with contemporary self portraits of the artist. Dust and smudges from the scanner plate surround each photograph.
    Shabez Jamal
    Untitled (Page Reconstruction no. 67), 2023
    Ink on archival paper
    24 x 17 in
    61 x 43.2 cm
    Edition of 5 plus 1 AP
    (Edition record)
  • A scanned collage by Shabez Jamal showing faded or discolored family photographs intermixed with contemporary self portraits of the artist. Dust and smudges from the scanner plate surround each photograph.
    Shabez Jamal
    Untitled (Page Reconstruction no. 104), 2023
    Ink on archival paper
    24 x 19 1/4 in (framed)
    61 x 48.9 cm
    Edition of 5 plus 1 AP
    (Edition record)
  • A scanned collage by Shabez Jamal showing faded or discolored family photographs intermixed with contemporary self portraits of the artist. Dust and smudges from the scanner plate surround each photograph.
    Shabez Jamal
    Untitled (Page Reconstruction no. 59), 2023
    Ink on archival paper
    24 x 19 1/4 in (framed)
    61 x 48.9 cm
    Edition of 5 plus 1 AP
    (Edition record)
  • A scanned collage by Shabez Jamal showing faded or discolored family photographs intermixed with contemporary self portraits of the artist. Dust and smudges from the scanner plate surround each photograph.
    Shabez Jamal
    Untitled (Page Reconstruction no. 79), 2023
    Ink on archival paper
    24 x 19 1/4 in (framed)
    61 x 48.9 cm
    Edition of 5 plus 1 AP
    (Edition record)
  • Shabez Jamal Untitled (Page Reconstruction no. 98), 2023 Ink on archival paper 24 x 19 1/4 in (framed) 61 x 48.9 cm Edition 1 of 5 plus 1 AP (Edition record)
    Shabez Jamal
    Untitled (Page Reconstruction no. 98), 2023
    Ink on archival paper
    24 x 19 1/4 in (framed)
    61 x 48.9 cm
    Edition 1 of 5 plus 1 AP
    (Edition record)
  • A scanned collage by Shabez Jamal showing faded or discolored family photographs intermixed with contemporary self portraits of the artist. Dust and smudges from the scanner plate surround each photograph.
    Shabez Jamal
    Untitled (Page Reconstruction no. 85), 2023
    Ink on archival paper
    24 x 19 1/4 in (framed)
    61 x 48.9 cm
    Edition of 5 plus 1 AP
    (Edition record)
  • Distorted scanned image by Shabez Jamal that reads "the all negro town" in white text against a black background.
    Shabez Jamal
    Untitled (The All Negro Town), 2023
    Ink on archival paper
    19 x 15 1/2 in (framed)
    48.3 x 39.4 cm
    Edition of 5 plus 1 AP
    (Edition record)
  • Distorted scanned image by Shabez Jamal that shows a map titled "all negro towns in the united states" in white against a black background.
    Shabez Jamal
    A Memory Map (All Negro Towns), 2023
    Ink on archival paper
    19 x 13 in
    48.3 x 33 cm
    Edition of 5 plus 1 AP
    (Edition record)
  • Distorted scanned image by Shabez Jamal that shows a map titled "distance and direction of all negro towns from the central city and nearest neighbor" in white against a black background.
    Shabez Jamal
    A Memory of Distance, 2023
    Ink on archival paper
    19 x 15 1/2 in (framed)
    48.3 x 39.4 cm
    Edition of 5 plus 1 AP
    (Edition record)
  • Shabez Jamal, in remembrance of us, 2022
    Shabez Jamal, in remembrance of us, 2022
  • Shabez Jamal, Study no. 1 (From Sitting With The Burdens of Freedom), 2018
    Shabez Jamal, Study no. 1 (From Sitting With The Burdens of Freedom), 2018
  • Shabez Jamal, Study no. 2 (From Sitting With The Burdens of Freedom), 2018
    Shabez Jamal, Study no. 2 (From Sitting With The Burdens of Freedom), 2018
  • A sculpture by Shabez Jamal consisting of a photograph suspended in poured concrete that remains partially visible.
    Shabez Jamal
    Untitled 01, 2023
    Type-I instant film and poured concrete
    2 1/4 x 12 x 9 1/4 in
    5.7 x 30.5 x 23.5 cm
  • A sculpture by Shabez Jamal consisting of a photograph suspended in poured concrete that remains partially visible.
    Shabez Jamal
    Untitled 12, 2023
    Type-I instant film and poured concrete
    2 1/4 x 12 x 9 1/4 in
    5.7 x 30.5 x 23.5 cm
  • A sculpture by Shabez Jamal consisting of photographs suspended and collaged against pieces of plexiglass.
    Shabez Jamal
    Album Reconstruction no. 7, 2023
    Plexiglass, wood, photographs
    13 x 28 x 7 3/4 in
    33 x 71.1 x 19.7 cm
Exhibition Text

(When you close your eyes) you feel your heart go there

So close your eyes and you may find that

Fireflies were as bright as stars - close your eyes and remember

Summertime lingered on and on - close your eyes and remember

Your first love made the world stand still - close your eyes and remember

Close your eyes and remember

Close your eyes and remember (Remember when...)

-Minnie Riperton, Close Your Eyes and Remember, 1970 


Sibyl Gallery is pleased to present Shabez Jamal’s Close your eyes, and remember, the artist’s first solo exhibition with the gallery. The exhibition will showcase Jamal’s work across media, including photography, collage, sculpture, and video. 
 
Jamal transforms the medium of photography by bending its parameters. He works with archival photographs borrowed from his family albums intermixed with images from his own photographic practice. With this juxtaposition, he situates himself securely upon the vein connecting photography to memory, expanding that connection beyond the purely visual. 
 
Jamal grounds his practice in specific media related to Black and Queer identity. In Minnie Riperton’s “Close Your Eyes and Remember” from the album Come To My Garden, she invites listeners to revisit the past in an attempt to conjure up the transformative power of memory. Riperton’s invitation to remember echoes the words of Jafari S. Allen, who states in his book There’s a disco ball between us: a theory of Black gay life  that the Black Queer community has a responsibility to remember and engage with the past for the purpose of guaranteeing a progressive future. Borrowing from these ideas, Jamal’s work asks us to set aside the notion of memory as fixed and discrete, and instead create space for its fluidity as it moves through time and is recontextualized through the present moment.
 
In his photographs, Jamal returns to the land where his great grandmother’s house once stood. The home itself burned down in 2021, but its architecture lives on through Jamal’s memory and imagination. He describes this home as a monument to resilience, tenacity, and exhaustion, as well as a space to put order to his own story. The quest for home and solidity is a constant within Jamal’s practice. By collaging family photographs with his own contemporary imagery, he recontextualizes the past, creating a tangible throughline to the present.
 
Jamal approaches each photograph as both an image and a physical object that will gradually change over the course of decades. He highlights the formal qualities of these imperfections; in one collage he shows the backside of a photograph which had been used to keep score in a forgotten card game. Such marks, tears, or discolorations denote the passage of time and the lives lived around and within the photographs. His sculptural works, in which he submerges instant Polaroid prints into poured cement moulds, emphasize the physicality of the photographs. The images at times peek out from the concrete, other times there is no visible sign of the image within. Concrete denotes urban progress, but in Jamal’s practice we see greater emphasis placed on its entropy. The gradual breakdown of the concrete is inherent to the works themselves, foregrounding the passage of time with the understanding that eventually all of the lives within the photographs will once again be made visible. 
 
The exhibition is funded in part by the Divided City Grant. The Divided City is an urban humanities initiative, a joint project of the Center for the Humanities and the Sam Fox School of Design & Visual Arts, College of Architecture, and Graduate School of Architecture & Urban Design at Washington University in St. Louis. The Divided City is funded by the Mellon Foundation.
 
ABOUT SHABEZ JAMAL
Donny Bradfield (b. 1992, St. Louis) better known as Shabez Jamal, is an interdisciplinary artist based in New Orleans, LA. His work, rooted in still portraiture, experimental video, and performance, interrogates physical, political, and social-economical space by using queerness, not as a means of speaking about sexuality, but as a catalyst to challenge varying power relations. Often turning the lens on himself, Jamal utilizes self-portraiture as a means of radically redefining the parameters of racial and sexual identity. Jamal received his BIS from the University of Missouri - St. Louis in 2019 and received his MFA from Tulane University in the spring of 2022 where he was also awarded a Mellon Community-Engaged Research Fellowship. In 2020 Jamal was also an inaugural member of Harvard Universities Commonwealth: In the city Fellowship.
 
Press
  • On Collaborative Recomposition and Shabez Jamal As Archive

    Tempestt Hazel, Sixty Inches from Center, June 21, 2023
  • A sculpture by Shabez Jamal consisting of a photograph of an older woman in glasses and a pink hat. The photograph is submerged in a block of concrete but partially visible.

    The Things We Buried: Jon Gott and Shabez Jamal in New Orleans

    Emily Farranto, The New Orleans Review, April 10, 2023
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