JL
"Living Her-Stories of Sugar" at WaveHill, Bronx, NY
Recap video by Coralina Rodriguez Meyer
Installation view of 'in pieces…" Residency Unlimited exhibition at PS 122 2023 Photo by Etienne Frossard
Left and right "In Life & Valor" ink on paper. Center "Meet me in the Sky Parlor" Photo by Etienne Frossard
Digitally printed water-based ink on Chiffon, Ikea metal curtain rod 108” x 58” Installation at PS 122 for Residency Unlimited. Photo by Etienne Frossard Inspired by the slave revolts that took place in Jamaica in 1831, silhouettes of machetes are crossed in the shape of an X and digitally printed on semi-transparent Chiffon curtains, existing as symbols of soft solidarity with each other.
Installation view of 'in pieces…" Residency Unlimited exhibition at PS 122 2023 Photo by Etienne Frossard
Installation views as part of Residency Unlimited NYC 2023 cohort exhibition at PS 122 NYC, "in pieces..."
All photographs except "1 Machete: Black & Gold" by Ettiene Frossard.
For information on the exhibition click the link below.
Featured in the exhibition is the video Meet Me in the Sky Parlor, based on histories of enslavement in the Caribbean and the sugar industry in Scotland. Set in a black room installation created and documented by Amy Sinclair, Lyn-Kee-Chow portrays Mary Williamson, a mixed-race enslaved Jamaican woman in the late 18th century who was sold to a white man to be his wife. In the video, the artist wears a costume that she designed for her original performance as Williamson in the 2022 play Living Histories of Sugar, informed by a letter that Williamson wrote in 1809 in Hanover, Jamaica. The letter sat in a Scotland attic for decades until 2016, when a history student brought the letter belonging to their family to Diana Paton, a professor of History at the University of Edinburgh. _Rachel Guggelburger
In Life & Valor
2023
Ink on paper
Diptych 30” x 44” each
Photographed by Etienne Frossard
In Life & Valor the artist renders in ink life-sized versions of tools and weaponry once used by Gold Coast West African people. It is based on a 17th-century engraving by G. Child.
This work was part of an exhibition for Residency Unlimited titled "in pieces..." Curated by Rachel Gugelburger.
A Case for Mary Williamson
2022
82 x 55 x 12 inches
Risographs, LED candles, vinyl, found candleholders, Stainless Steel wine glasses, found glass vase, soil, live bean plant encased in built-in cabinet
Installation views closed and open
Photographed by T. Pelichet
Created as part of a solo exhibition, "The Estate Special", Triangle Arts Alumni Residency, Governors Island.
The exhibition includes new works on paper referencing archived testimonies of enslaved and free Jamaican women which was incorporated in an international performance collaboration titled, Living Histories of Sugar which made its debut in Fall 2022 at The Institute of Jamaica Museum, Kingston, Beacon Theatre, Greenock, Scotland and St. Cecilia’s Hall:Concert Room & Music Museum, Edinburgh, Scotland. The performance is directed and produced by Dr. Marisa Wilson, Institute of Geography, University of Edinburgh, Scotland, and sponsored by the Arts & Humanities Research Council (AHRC) and UK Research and Innovation (UKRI).
Sarah Williams’ Testimony
2022
Ink on paper
42” x 31” inches
Photo by T. Pelichet
Drawing using archived text/testimony of an enslaved woman. This work informed the development of further imagery for a performance titled, "Living Histories of Sugar". The performance is directed and produced by Dr. Marisa Wilson, Institute of Geography, University of Edinburgh, Scotland, and sponsored by the Arts & Humanities Research Council (AHRC) and UK Research and Innovation (UKRI).
Junkanooacome
Solo exhibition at Five Myles, Brooklyn, NY
Photos courtesy Five Myles
http://fivemyles.org/calendar/2022/8/6/junkanooacome-jodie-lyn-kee-chow-exhibits
2021 Graphite on archival paper, antique and found objects (in plexiglass case), canvas, Dimensions vary Graphite on paper, 136” x 48”
2021 Graphite on archival paper, antique and found objects (in plexiglass case), canvas, Dimensions vary Graphite on paper, 136” x 48”
(IN)Complete Formation at Putty's Coronation. Photo by T. Pelichet
2021 Graphite on archival paper, antique and found objects (in plexiglass case), canvas, Dimensions vary Graphite on paper, 136” x 48”
Two Axe Heads, A String of beads, and a Handful of Nails
2021
Graphite on paper, antique and found objects (framed)
Dimensions vary
Graphite on paper, 136” x 48”
Side panels : 25.5” x 19.75” each
Photo courtesy David Tempchulla, Putty's Coronation
This work shows a national monument and its surroundings that has been re-interpreted through frottage and assemblage. The plaque on Governors Island since 1951 stated its purchase by the Dutch. A year after this work was created the plaque was removed from the premises with no explanation to the public.
It reads;
“ Governors Island
Called by the Indians “Pagganck”,
was purchased from two members
of the Indian Tribe of Manahatas
named Cakapetayne and Pehiwas by
Wouter Van Twiller, a Governor and Director General of New Nether-
land- June 16, 1637; The price paid
was two axe heads, A string of
beads and a handful of nails.
Erected by
The Holland Society of New York
1951”
A year after this work was created it was removed from the premises with no explanation to the public.
*This work was exhibited at Putty's Coronation, Brooklyn, NY along with other works. Link below.
(IN)Complete Formation