WALKING THE EARTH AS IF I HAVE THE RIGHT TO BE HER
Walking The Earth” is a visual art installation of mixed media works by artist Lourdes Bernard which will be on view during her Open Studio at the Erdman Center at Princeton Theological Seminary on April 22, 4-7pm. The works were completed during Bernard’s OMSC artist residency at PTS. The installation of figurative works also includes a series of non-representational drawings inspired by the planet Saturn. The images share overlapping themes and they are in conversation with each other . The installation “Walking The Earth” primarily centers women as individuals and within a community. All the works reference literature and language as narrative inspiration and as visual media where text is sometimes incorporated into the work. The title of the installation comes from the piece “Walking The Earth As Though I Have the Right to be Here” from this James Baldwin quote:“It took many years of vomiting up all the filth I’d been taught about myself, and half-believed, before I was able to walk on the earth as though I had a right to be here.” This particular work is a “Rückenfigur” (“figure from the back”) and invites the viewer to experience the figure’s perspective, emotional state and journey as she walks on her path with her back towards the viewer. This allows the viewer to be a participant and as a visual device it creates a mysterious tension. The back of the figure also becomes a portrait that embodies a shared and universal experience and this is again echoed in the small self-portrait “Portrait Of the Artist as a Young Girl”.
"Walking The Earth As Though I Have A Right To Be Here" Mixed media, pastel, pen and ink, charcoal on paper 98" x 50"
The subject’s gaze (or lack of gaze) is a common thread and in “Nou bèl. E nou la!” the women are fully frontal and face the viewer reclaiming and redefining the poignant vernacular call and response greeting from Haitian women Nou Led, Nou La! which was born out of hundreds of years of colonial, authoritarian and ongoing U.S. imperialist oppression.Here the greeting “How are we today, Sister? We are ugly, but we are still here” is changed to “We are beautiful but we are still here.” Showcasing this history is an urgent invitation to alter the course of US policies that continue to deepen the suffering in neighboring Haiti today where the US is poised to invade yet again.
”Dominican Guernica”*
"The Women of April:Past is Prologue" is a new monumental mixed media series and is Part #3 in a trilogy of research-based drawings and paintings, documenting Dominican migration and diaspora,the April 1965 US invasion of DR, and The Women of April. One mixed media work, “Dominican Guernica”, memorializes civilian Dominican women who participated in battles during April 1965. In the tradition of history painting “Dominican Guernica” is a monumental graphite drawing which is 7’-0”high x 21’-0” long, uses the historic battle at “Puente Duarte '' depicting portraits of the women in battle and serves as a counter narrative to erased history. Several other works from the series were completed including the fabrication of eleven 48” x 33” wood panels designed to be assembled together as a series of historical vignettes architectural in scale and visually active. The horizontal image invites audiences to contemplatively walk alongside this historical visual narrative.
*”Dominican Guernica”is made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
Christ Plays in Ten Thousand Places
“The Congregants”, a triptych, and “Senna The New Theologian” are part of an ongoing portrait series titled “The Icon of Reality” inspired by these lines from the Jesuit Gerard Manley Hopkins’ poem “As Kingfishers Catch Fire” :
“Crying Whát I dó is me: for that I came, Acts in God's eye what in God's eye he is —Chríst — for Christ plays in ten thousand places,
Lovely in limbs, and lovely in eyes not his, To the Father through the features of men's faces"
The portraits are indexical of Divine creativity and its human expression. They are based on sketches made over several hours when each of four OMSC visiting scholars sat and posed for a portrait. The final portrait is a composite pen and ink drawing based on these sketches and made over several weeks as a daily ritual.The process-driven portraits are not idealized and rather reflect an authentic and real humanity as icons that express the sitter’s sacredness here and now.Three of the four scholars provided a prayer that they hold dear and are now written on the portraits in their native language. Together three of the scholars form a triptych and become “The Congregants”. In “Senna the New Theologian” the subject and the pictorial language are in dialogue with the early Christian art of Byzantium Africa, particularly in Ethiopia where Senna is from. “Senna the New Theologian” reminds us that Christianity first flourished in Africa and its earliest and deepest roots are in that continent.
Ringscapes
I saw the planet Saturn for the first time during a visit to the Peyton observatory at Princeton University.The direct viewing experience was impactful. When the astrophysicist at Peyton explained that Saturn’s rings were not just made of gas but were in fact full of shattered moons, comets, “asteroids made of chunks of rock, ice, and metal left over from the formation of our solar system”, some as big as mountains, I was moved to make the “Ringscape” series. These pen and ink drawings depict Saturn’s rings as an imaginary cosmic landscape and a laboratory full of mysterious and unknown forms, continually emerging and in constant motion. The visits to Peyton also inspired “Saturn, Plan View” a painting of Saturn without the rings. Several images in this series were made against the backdrop of the genocide in Gaza and as I worked on these images I found myself returning to Stevie Wonder’s timeless song “Saturn” again and again.
“We have come here many times before, To find your strategy to peace is war, Killing helpless men, women and children, That don't even know what they are dying for
We can't trust you when you take a stand, With a gun and bible in your hand, And the cold expression on your face, Saying give us what we want or we'll destroy”
The works on view in the Open Studio reflect questions which I grappled with during the residency and in the process of making the images even more questions were raised. This is why the lyrics in “Saturn” ring as true today as they did when they were first released. We need to collectively walk the earth as though we all belong here, and perhaps raising our eyes to look at the stars and planets can help ground us in this singular and essential truth.
EXHIBITION HIGHLIGHTS
NEW YORK STUDIO SCHOOL MARCH 14-APRIL 10, 2022
“THE ALCHEMIST IN THE CITY” , graphite on plot paper, 36” x 54” 2018 © Lourdes Bernard
The Alchemist In The City
The Alchemist in The City by Lourdes Bernard
Read MoreHeadlines from Saturday Evening post of the Ohio Times Gazette on July 17, 1965.
"Flag In A Suitcase" Art and Activism
This installation of "Flag In a Suitcase" was created for a protest rally in support of keeping immigrant families together. When U.S. Immigration and Customs Enforcement (ICE) orders a person deported, they or their loved ones are allowed to pack one suitcase whose content cannot exceed 25 pounds. A lifetime is condensed into a single container and thus this suitcase is a container of both what is lived and what is now unlived as a result of deportation. Each story is depicted as a visual narrative and is linked through movement in a counterclockwise direction around the suitcase.
This 1930's suitcase is from another period of mass deportation when over one-half million Mexicans and their American children who were US citizens, were deported from the USA. The bottom of the suitcase is lined with 65 year-old newspapers with headlines eerily matching our current headlines: war and occupation, racism, and our precarious relationship with Russia.
The battered suitcase reflects our battered and broken immigration policy .These images highlight that many immigrants flee because of war and violence triggered by US foreign policy and by their authoritarian governments at home. The previous administration's animus towards immigrants from Latin America and immigrants of color (few refugees from Afghanistan, Iraq and Syria have been allowed entry into the US) is characterized in several anti-immigrant policies. ICE deportation ends many of the dreams that immigrants now carry back with them as they leave what is familiar behind.
The Dominican flag highlights a quote by Jeff Sessions made on the Senate floor prior to becoming Attorney General in the previous administration. The suitcase acts as a plinth as the flag unfurls out of the suitcase and the images are assembled around the suitcase to create a contemplative space that the viewer may move around. The pastel image drawn on the top of the suitcase depicts the narrative of family separation and detention that characterized the previous administration’s policy at the southern border. As the viewer walks around the suitcase they engage various stories. The counterclockwise movement also echoes the movement of displacement and deportation.
Video shot by Kara Koirtyohann.
ArchiveD Moments: Mom as Muse
Self Portrait
Read MoreVarious images of Las Mujeres de Abril and Las Hermanas Mirabal , a catalyst for revolution.
"A revolutionary act cannot be erased. Revolution is the desire to change the system.” Felipe Luciano
The Dominican Republic’s war of April 1965, is the invasion that Americans don’t remember and that Dominicans will never forget. These images document the universal patterns which led to this historic event. This series examines the legacy of resistance and trauma caused by political oppression during the post-Trujillo era. The normative consequences of these patterns of dictatorship, authoritarian oppression, imperialism and foreign intervention in domestic elections, clashed with political dissent to permanently transform the Dominican Republic. The aftershock of the Revolution remains with us today. One noticeable impact is the creation of the Dominican diaspora which is currently the largest immigrant community in New York City, and the 4th largest Latin-x community in the USA. The same year that the US invaded Dominican Republic, the US government also enacted immigration reform and repealed the national origin quotas by passing the Hart-Cellar Act which no longer favored European immigrants. The Revolution was the push factor that pollinated New York with a community that would go on to nourish both this city and the homeland as a synergy between Santo Domingo and Nueva York was born.
Backstory
Trujillo’s 31 years as President ended in his CIA-backed assassination by a faction of the Dominican military. Trujillo’s murder was followed by an 18 month period of intense political turmoil that culminated in the first free elections in over 33 years on December 1962 . The Presidential election was won by the writer and poet Juan Bosch, a social-democrat. His pro-labor reforms were modest and yet angered the ruling class, the US government which had long protected American corporate investments in DR, and the Catholic Church who had signed a Vatican concordat with Trujillo. A concordat is an archaic and binding legal treaty between a sovereign nation and the Vatican City giving the RCC special rights and privileges in that nation. After only seven months in office, another US engineered military coup removed President Bosch from office and he was exiled to Puerto Rico. He was replaced by a military triumvirate installed by President Lyndon B. Johnson who made Donald Reed Cabral the new Dominican President. Less than two years later, Donald Reed and the triumvirate were challenged in a successful coup led by Colonel Francisco Caamaño and the Constitucionalistas who demanded Bosch’s return to power. Caamaño successfully took over El Palacio Nacional and Donald Reed and his family fled to Miami with US govt. assistance. During the same year that the Voting Rights Act was signed into law, President Lyndon B. Johnson ordered 42,000 troops into Santo Domingo on April 28, 1965 . LBJ claimed that the revolution in DR would result in "another Cuba" and that Americans living in DR were in danger. The Constitucionalistas advocated for the reforms proposed by President Juan Bosch in his Constitution #63. Their rebel stronghold positioned itself in Ciudad Nueva, the colonial part of Santo Domingo where the initial invasion of the Americas by Columbus occurred almost 500 years prior. My parents and siblings lived in Ciudad Nueva, in a house with a sunny courtyard and a parrot named Cuca.
This project began with a profound curiosity about my parents’ experience while living under Trujillo’s dictatorship and a desire to understand how Trujillo’s assassination, and the revolution that followed, became catalysts for our migration to NYC. These images are a way of reclaiming this history and I consider this collection of images a “family” album that both embraces and documents the historical events that led to April 1965. The larger full size images give voice to the rebels who fought for freedom, particularly Las Mujeres de Abril, the Women of April, who took up arms and became a significant part of the resistance during the US Invasion, fighting and dying alongside the men. The list of women that fought is endless and they include Yolanda Guzman, Tina “La Bazookera”, Emma Tavares Justo, Gladys Borrel “La Coronela”, Sagrada Bujosa, Carmen Josefina, Nati Andujar “La China”, Mercedes Ramirez “La Rubia”, Carmen Josefina Lora Iglesias “Picky Lora”, Brunilda Amaral, Hilda Gautreaux, Lourdes Contreras, Angela Herrera and thousands more. When the revolution was over and the Dominican resistance defeated, 6,000 Dominicans, mostly civilians, and 44 US troops were dead.
" The revolution was a response ..to those who said that we were cowards because Trujillo lasted 31 years "
April 1965 offers lessons that are universally relevant today. The foreign interference and manipulation of free elections dictated by US capitalist interests and greed, were met by a resilient political response from a united people who clamored for their freedom and sovereignty. They succeeded in overturning Lyndon B. Johnson’s puppet government by creating a cohesive network of communities made up of untrained civilian commandos who fought the 42,000 US marines for over four months while retaining control of their government. The courage expressed by Dominicans was rooted in the trauma caused by Trujillo and by their vision that true democracy was possible with Juan Bosch’s presidency. The Balaguer era that followed the surrender of the Constitucionalistas began with a 12 year purge characterized by repression and violence and was one of the bloodiest periods in Dominican history. For the 22 years that Balaguer was in power, Dominicans experienced unemployment, famine and deep poverty which led to mass migration and exodus creating a vast Dominican diaspora in the USA. I believe the past is still present and the stories in these images contain a cautionary tale that help us recognize and understand the authoritarian patterns that can threaten a healthy democracy. Lastly, once completed this new work will form a part of the legacy of the April 1965 Revolution.
Lourdes Bernard © 2017 All rights reserved.
Additional reading:”Las Mujeres de Abril” by journalist Margarita Cordero;;“Marines in Santo Domingo” by economist Victor Perlo; “Historia Gráfica de la Revolución de Abril “ Fidelio Despradel .
Mujeres de Abril and the April 1965 Revolution in Dominican Republic
“Tina La Bazookera” by Lourdes Bernard, created for the One House Project.
Read More"War Games"
"War Games" Photograph by Rodrigo Moya taken during the April 1965 Revolution/American invasion of Dominican Republic.
Read MoreTravel Sketchbooks
Archived Life: The Sketchbook
Several years ago I came across the sketchbooks of Horace Pippin and it was the first time I was struck by how weighty and real sketches can be. The power of the image was in their content and the content was the first World War. Pippin gives us images of explosions during battles, of soldiers hiding out in trenches and planes flying overhead.....What I saw in these images influenced the way I composed my sketchbooks.
Read More