ADEARTS

Here the Artist has captured Zora in the earlier stages of her life . . . crossed between the upbringing of her youth and its limitations. Her mother has passed, symbolized by the astral sewing machine in the clouds. Here we see Zora pensive, her Native American ancestry watching over her, as if to help her in deciding her path to choose. We see her father grounded in the statutes of the church disciplined and in fear of the Lord. Next to him is her stepmother, with whom she has had tumultuous conflicts leading up to a very violent conclusion, which helped her in forming her decision to brave the crossroads. Also we see Zora looking away from her father’s ideas and Eatonville’s borders into the flowerbed we see the young, enthusiastic, adventurous Zora on the pathway away from her past (in which later she would come to rely).

Here the Artist has captured Zora during her times and studies in Washington D.C./Baltimore MD. Driven by her ambition to get an education and honor her promise to her mother, Zora is seen as always “fashioned for her state of mind”, which we see here is scholarly. Zora is center staged peeking out from the background of Morgan College into her days at “G “street Robinsons barber shop where she worked as a manicurist to help pay her way through school. The barber shop is central to the theme for it includes the prominent people she would meet such as lawyers, journalists, politicians and bankers, who would freely dish out their troubles and elite gossip. This is the close inner circle she manicured, represented in the circle of light. Directly behind it, is the great mystique of Howard University, in which Zora was humbled and in awe of, which opened the doorways for her to explore her dreams. The mystique carries over to the circle of up and coming historical African American pioneers of the New Negro Movement, later to be known as the Harlem Renaissance. (The three figures: W.E. B. Dubois, Langston Hughes on top, and at one time Zora’s mentor, Alain Locke on the left). At the lover right side we see one of the books of Dubois called “The Soul of Black Folks”, a very popular book, which represents the emerging thought of the New Negro at those times.

As your eyes move on through the painting the Artist leads you to focus on “The Stylus” magazine in which Zora published her first poem, and first story, “John Redding goes to Sea”. Located right underneath it is the “S” Street rendition, paying homage to the early Harlemites who called themselves the Saturday Nighters. Zora frequented here and was inspired to develop her now emerging talent as a writer and storyteller. We see Zora again, standing in the midst of it all with her hat held down as a shield by her side. Behind her to the right we see a bookcase that leads to the halls of literature and knowledge to the final steps where at the top is a banner that introduces the viewer to one of Zora’s greatest tools, her typewriter. (The first advent, of this reoccurring theme in the Zora series)

The Artist has captured the Zora icon, exuberant and vibrant, reflected in the colors and tones used in the sky. Zora is in full flight, as her charming self, reaching for the sun. We see Eatonville at dusk as if to say, those times are behind her. Barnard College, to the left of the viewer, hangs right below Eatonville and looks like another world compared to the vibrancy, electricity and charisma of the Renaissance emerging in Harlem. Jazz was the song of the day, its bold textures exemplified the attitude of the times (they say it’s jazzy). Seventh Avenue was the Mecca for Harlem. We see in the circle of light a typical Harlem, big city, bright light, and the latest everything, heaven for the Negro. On the horizon we see the “Tree of Hope”, a meeting place for the Harlemites to exchange information and make connections. Many lasting friendships and business relationships were sanctioned there. Surrounded by it, is the abundance of cutting edge books depicting Negro life (“Fire” “Crisis” “The New Negro” and “Opportunity”). Zora is holding the book “Spunk” which opened eyes and started her literary acclaim. The pose Zora strikes and the parallel the Artist creates with the larger than life portrait brings to mind the quote “I love myself when I’m laughing and then again when I’m looking mean and serious”.

At the center bottom, the viewer’s eyes will see Zora’s phone book, with her list of friends and confidants. We see and invitation for a rent party (a necessity for many Harlemites), leading right up to the articles Zora wrote such as, “Drenched in Light”, “Sweat” and “Colorstruck”. The Artist has managed to merge the excitement of Zora first arriving to Harlem mixing it with the cools of the Renaissance movement depicted in bright oranges into deep blues.

Here the Artist has captured Zora in the flare and drama of the emerging changes occurring in her life. The dramatic crimson hues represent the passion and excitement Zora felt in engaging in anthropology. We see Zora doing her fieldwork staring right at you as if to say defiantly “there is more to me than you know”. The magnificent shawl that is wrapped around her that leads the viewer from the Harlem Nights of the Renaissance and back to the Deep South to collect Negro folklore. We see her beloved car “Sassy”, which became to her like a medallion, captured so in the Artist’s work. Floating through the shall we see the spy glass in which Zora claimed, Anthropology helped her to see the wealth and abundance of her Deep South upbringings which now serve to form the basic foundation for her Anthropological studies. To the right of her almost behind her, as if encouraging her, we see her mentor, Dr. Franz Boaz, who was the first Anthropologist to bring the study of anthropology to the universities. It was he, recognizing Zora’s gifts, talent and flare, who inspired her to become the first Black Woman Anthropologist. Underneath Dr. Franz Boaz we see the matriarch, Charlotte Mason, self proclaimed “Godmother” to talented Negro artists, writers, poets, actors and musicians. Zora endured favors and was a benefactor of the matriarch’s financial wealth, notwithstanding strict artistic control of her work. Finally we see Zora standing in white on her expeditions in the South, yes, carrying a gun, of course wearing a hat, confident, brass and exuberant about her new endeavors in the field of Anthropology, which she would rely upon as a backbone for her now famous writings.

Scene 5 - Jump at De Sun

Here the Artist has captured Zora in her full exuberance; the gleam is in her eyes, filled with the wealth of experiences of having traveled on her second folklore expedition, this time across the waters to Jamaica and Haiti. The sun is just above the mountains, its rays dance across the waters. A band of light shimmers across Zora’s hat, the tones of the water are crystal blue, reminiscent of the colors of the Caribbean waters, you can be in Jamaica, Trinidad or Haiti.

In the midst of the water, on Zora’s left side, the Artist has portrayed a scene in honor of the great Harlem Renaissance artist Aaron Douglas (a dear friend of Zora’s). In this scene the translucent ebb and flow of lights and dark and the geometric abstraction to a modernist formula with a limited tonal palette brings to mind African cubism. We see Zora in the midst of a celebration; we see her drumming in the center, and the participants rejoicing around her. This caption represents her time with the Maroons in Jamaica in which she became the unheard of close confidant of the chief; this also represents her time in Haiti where after several drumming sessions and ceremonies she became a Voodoo (Hoodoo) Priestess. Finally we see Zora coming back across the waters with her drum, her ilekes (African ceremonial beads), her new found knowledge, and fresh inspiration called “Their Eyes Were Watching God”.

In this painting called “Room with a View” the Artist has captured the mood, the peace, ambience and environment of Zora’s one room studio which she first rented when she wrote “Mules and Men”. Now in 1951 portrayed here Zora returns, we see a portrait rendering of her with her eyes closed, (a rare image of Zora) she is contemplative and meditative perhaps trying to recapture the feelings and inspiration that penned her first book. A cup of tea, filled to the brim is set, not tasted yet, pen notes surround her, a typewriter awaits typing, there is a stillness which the artist has invoked, we see Zora yet we do not see her. We can almost feel her anticipation to begin writing; the mirror is the only indication that reflects her first endeavor which now has brought her back here again. To the left we see remnants of her magnificent shawl draped across the chair, representing Anthropology behind her now but formulated in her, she is writing again. The experience of Anthropology has enriched her now, and has help form the backbone for her career as a writer and storyteller. Near the window where peace and quiet were good friends of Zora’s in these times, we see on the bookshelf literature books, folklore and a hard cover copy of “Their Eyes Were Watching God” between the books, representing Zora’s ability to take an extraordinary life and experiences and turn them into stories. The Artist’s handling of the delicate play of light from outside and from the lampshade combined with the color tones of the wood paneled room and shadowy areas really captures and reflects Zora’s spirits in these times, and the environment she relished.

In the Eve of the Prophetess, we see Zora in the later stages of her life in Ft. Pierce Florida. The Artist has captured the gleam of her experiences, from the days of the Harlem Renaissance to her travels abroad. Represented in her hat and blouse her flair for glamour still ever-present (though now more for occasions) richness with experience emanates from her eyes more grandmotherly. On her left is Lincoln Park Academy where Zora was a substitute teacher for a time. Captured also is Dr. C.C. Benton, who grew up near Zora’s father and her brothers, was so taken by Zora, extended his kindness by looking after and giving her a place to call home (1734 School Court, Ft. Pierce). Here Zora at this stage in her life lived rather simply and inconspicuously compared to her younger years of fame and notoriety. She continued to write, working obsessively on a book entitled “The Life of King Herod”, (captured in the reoccurring theme, the typewriter). She also worked part time for the Fort Pierce Chronicle, penning many articles in storytelling fashion of her experiences in Haiti and Hoodoo culture. The article called “Hoodoo and Black Magic” opened many eyes. Finally Zora’s favorite flowers form a composition design into the scene where we see Zora as a village elder who engaged in her favorite past time, “mouthing with folks”. With this scene the Artist captures Zora as a teacher in the company of her peers (a trend in Zora’s life), the young mother with her daughter represents the youth of today embracing Zora’s message and passing it on.

In this the final scene we see Zora in the midst of a mystical ceremony perhaps recalling her time in Haiti, Jamaica and the Deep South. She is conjuring up the elements of the future, past and present. She is wearing traditional ceremonial garb, the deep dark hues of her dress and the way the Artist has captured line movement with aggressive brush strokes, give the viewer the illusion of Zora’s movements caught in motion. Her ilekes (ceremonial beads) sway around her neck, silver embroideries glimmer in the light, a bell hangs from the pinky finger of her left hand which is holding a shekere gourd (classical early 1600’s Renaissance pose). In the other hand a drum stick beats the invocation of the sacred drum (she returned with from Haiti as in Scene 3 “Jump at De Sun”). Projecting from the drum, articles of Zora’s life experience, we watch her dance with the children ensuring the future, we see Cudjo, former slave whom Zora interviewed in her folklore expedition, and he is seated with his grandchildren at his side. In this rendering we see elements of the future merging with the past, (another constant in Zora’s life). Cudjo represents Zora’s deep roots and cultural past. Circling at the bottom of the drum we have papers turning into books representing Zora as she started first as a writer then became a novelist, this rendering represents growth in Zora’s life. The purple shawl that wraps around her waist and hangs represents royalty and richness, the royalty represents Zora’s presence which she commanded so well, and the richness represents Zora’s diverse experiences. In the portrait “Daughters of the Talking Drum” Zora is seen looking at herself, “her higher self”, to generate the energy we now know her as. This presence, in which she conjured up, touches upon Zora’s mystical nature and abilities. Looking into herself and seeing herself doing the crow dance is a statement of Zora’s life, bringing to mind a phoenix like unfolding. In these themes the Artist has managed to merge European Renaissance themes with African realism and mysticism. The deep plush like earth tones hide in shadows where shapes get lost, only to be awakened by the brilliance of the Zora entity, again bringing to mind early 1600 religious themes in Renaissance art. The still water affected the ripples represents the impact Zora has left in the world of arts. Finally inviting the viewer to participate in the ceremony, we see the sacred book of writers opened, revealing miniature portraits of today’s leading edge writers and novelists, (on left side Maya Angelou, Toni Morrison below, on the right side Alice Walker, Valerie Boyd , below). The pages of the book appear almost ready to be turned allowing us to anticipate the next generation of forthcoming writers, again the theme of present, past and future merged as one. “Jump at De Sun”, Zora would say, as her mother once told her . . . daughters of the talking drum.

 For more information on this series please contact Jody Bonet at (772) 462-1767 or BonetJ@stlucieco.gov . Contact the artist, ADE Rossman at adearts@yahoo.com.