Willie Little, Artist and Storyteller

In Mixed Company...Artists Statement


In Mixed Company GoldBox The exhibition, In Mixed Company seeks to bridge the divides of race and class in America through the inspiration of a story I heard as a child. Often where black and white farms of my childhood stood side by side, the prejudices and notions spoken on one side of the fence were vibrantly echoed on the other-- yet never together.

This installation explores my rural NC childhood and urban adult relationship to a paradoxical tale, the parable of the black curse.  Evincing the poignancy of intra-racial “unspeakables”, the parable reveals how the Black Man supposedly received “the curse” of his nappy hair.

I contemplate these barriers as I transform the barriers of the fence into a forest of fourteen six-foot tall, African-inspired, wood -carved walking sticks, wrapped, bejeweled, and adorned in cockleburs reminiscent of the celebratory defiance of African hair.  Ironically, the walking sticks, in opposition to fences’ and barriers’ tendencies to erode the spirit, serve as icons of strength, resilience, and support for the renewal our collective humanity.

By sharing an allegory, heard and understood as a child in isolated 20th century rural USA, and now processing that story as an adult in a cosmopolitan city of the 21st century, I hope to explore the essence of the ‘fence’; to reveal it’s power or lack there of; to appreciate the capacity of the fence to provide protection and strength versus vulnerability and weakness.  And to appreciate and convey the truth learned through parable.

Black Curse Parable
The muse for this installation is a true story told on my family’s front porch in Pactolus Township in rural N.C. by an elderly black man during a time of Jim Crow and in the heart of the Civil Rights Movement. It was told with the tension of jest and truth, and heard with the naïveté of a child, uncertain of the line between fact and fiction.  It was a parable of the black curse.

PARADOX--A statement or proposition seemingly self contradictory or absurd, but in reality expressing a possible truth.

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“The Original Paradox”


…When God created man, He created both the black man and the white man. When He decided to bestow hair to each man, God gave them a choice but not without a “catch”. He had two boxes—one big, beautiful shiny box anointed with the finest jewels made of gold and one small, raggedy, tattered wooden box. 

God told the two men that the one who reaches the boxes first gets to choose—first come, first serve—One winner- One loser.  Now the black man, who could naturally outrun a jackrabbit raced for the big pretty gold box.  But when he opened it – found it was filled with some awful, nappy, kinky, matted hair (the curse of God).

Now, once the slow as a tortoise white man-- thinking he was the “ loser”—opened his “left- over” box-- the tiny, tattered wooden box, he found it was filled with fine hair, like the hair of angels--thus, the black man’s fate. Just as Man was cursed through his temptation by an apple with “the original sin”, the black man was cursed with the legacy of nappy hair and an unhealthy attraction for all things shiny.  Now you know what they say, “all that shines ain’t silver—all that glitters ain’t gold…”

On the Fence...
How do we respond to this story today? Is it uncomfortably funny? Is it painful? Is it hurtful? Is it absurd? What side of the fence do you find yourself on?

The theme of strong invisible barriers is more poignant today than ever before. Our ‘neighbors’ and how they feel about us are no longer limited by narrow inches of a fence divided by black and white, but by global concerns that can reach the distance of a car bomb or a nuclear attack. It is relevant to all generations and all races. The work invites the viewer to cross over, to engage with one another as well as the work. It invites viewer to open the lids of the boxes, as they open their minds and their hearts.

* Cockleburs-Xanthium strumarium) Small, prickly, football- shaped spur like pods considered a weed, are commonly found in fields and pastures in agricultural areas in the US and Asia.  In the South, they were commonly used as an epithet to describe nappy African American hair. 

In Mixed Company at Levine Museum of the New South
Opening January 17, 2008 – May 30, 2008 Charlotte, NC

This multisensory, multimedia installation that takes you on an ethereal journey as you walk through what appears to be cryptic relics in a theatrical, dimly- lit gray walled space. As you enter the gallery at the end of the walkway, you see an arrangement of old style Southern mason jars filled with cockleburs. The jars sit on top of gray pedestals of varying heights. As you wander to the left, there are a series of 3 vignettes, boxes that reclaim popular, sacred, and incendiary imagery intended to transcend language, challenge meaning and possible truths. The three boxes include a 24” square rough hewn, tattered, rusty, ragged wooden box, an 8”x18”x5” gold leaf box and a 5”x 9”x5” vintage Saltine Cracker tin. These are all filled with treasures meant to tickle your psyche, and jumpstart your heart. Towards the opposite end of the gallery, you see the forest of 14, 6’ to 6’- 8” tall walking sticks hovering from the ceiling in various heights and lit as if they are in a dark, wooded area.

A brief audio element with stream of consciousness dialogue (including the Black Curse parable), ambient sounds, narratives, spirituals and sound effects envelop the gallery space in a den of humor, surreal reality and poignant truth. The visitor has the opportunity to eavesdrop on “privileged conversations” (performed by the artist and actors) that may have easily transpired in the “front room”, dining room, between friends and even on a schoolyard.

*The realization for this conceptual installation was funded by an award from the 2006 Pollack Krasner Foundation Grant.

 

In Mixed Company
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