Crystal Marshall is a contemporary fine artist who lives and works in Atlanta, Georgia. Originally from Kingston Jamaica, Her paintings pay homage to her life’s experiences rooted in cultural disparities in the modern-day African diaspora. Her distinctive personal style emanates isolation, self-reflection and expresses the spirit and atmosphere of the black consciousness in efforts to reconcile its relationship with true identity and image.
Symbolic motifs such as wool, thorns, hair, figurative and allegorical representations are just some of the visual tools used to express displacement, hostility, victimization, exclusion, oppression and withdrawal. As the artist explains, “I am a storyteller and I welcome the viewer to be a part of this visual journey, to share in my experience.”
She earned a Bachelor of General Fine arts degree from Maryland Institute College of Art in Baltimore, Maryland and also studied fine arts at Edna Manley College of Art in Kingston, Jamaica. She received a full scholarship for an exchange program at Pont Aven School of Contemporary art in France where she showcased her work in a group exhibit.
Crystal’s artwork has been shown in exhibitions such as “Intersectionality Theory” at the Museum of Contemporary Art North Miami, group exhibit. She has showcased a series of her artworks with the art box project in Zurich Switzerland & Barcelona. Most recently she has been accepted to the renown Chateau d‘ Oquevaux Art Residency in France where her works will be featured in their permanent collection.”
You currently reside in Atlanta after moving from Kingston Jamaica. Can you tell us about your history and journey into art?
I lived in Kingston Jamaica for 16 years, before returning to the states. My art history began back at home where I attended Edna Manly College School of Visual & Performing Arts, one of the top art institutions in the Caribbean. I was taught by renowned artists such as Cecil Cooper, Omari Ra, Petrona Morrison, Prudence Lovell, and Samere Tansley, to name a few. This school set my entire artistic foundation, I learnt so much, till this day I’m influenced by what I was taught. Through Edna Manley College of Visual Arts, I learnt about a student exchange program in Pont Aven France. I was fortunate to have been awarded a full scholarship and enrolled in their arts program. Bryan McFarlane professor at UMass was my teacher within the program. Under his influence, I redefined my artistic style in this program and made my first sales in addition to having my first student exhibition. After which I received my BFA in general fine arts from Maryland Institute College of Art. I gained more exposure to different artistic disciplines and took on digital photography as additional practice.
Did your upbringing in both Jamaica and America impact your art?
Both places have impacted me. I was born and raised in Long Island New York, before migrating to Jamaica at the age of six. My formative years were shaped by American culture, but the latter part of my life was influenced by my Jamaican heritage which I feel more akin to. The foundation for my artistic practice was set by the experience I had at Edna Manley College. There I gained exposure creating both representational, non-representational, assemblage, conceptual art and photography which was a very valuable experience for me. I was taught by a diverse group of professors and received unconventional teaching approaches, which really helped to open my eyes and shape my perspective of art in the contemporary sense. At the time my work was image-based but abstract taking a narrative form in conjunction with making conceptual art. When I furthered my studies at MICA, I started leaning towards figurative art primarily and becoming more realistic with my imagery. Based on my experiences in America, I gradually started tapping back into narrative art.
Having a culturally diverse background gave me a dualistic and individualistic approach since I’ve been nomadic over the years. I don’t particularly feel completely tied to one place over the other but can find a common ground between both. However, my art is heavily influenced by my own sense of being and experiences that have shaped me as a person. Culture can be a great sense of inspiration but can also become a confining space.
What are the themes running through your work?
My themes deal with identity, oppression, victimization, rebirth, reconciliation and spiritual journeys. I incorporate these themes with regards to the black conscience in the modern-day African diaspora. I use portraiture in quite a few of my works which displays my own personal journey of observation and resolution. My work is meant to question the standard and the very appearance of this reality, bringing the things hidden to the forefront for the viewer to contemplate.
You work in series can you tell us about Dew, Naked, Wool and Blackbody?
I love working in series because it helps to fully explore different aspects of my themes. The following themes are life-long explorations.
Dew
The theme “Dew” was one of the first series I started and will continue to do so in the future. I wanted to create fantasy worlds that were a place of escapism for rest and peace. This was my attempt to create a body of work that was in complete opposition to my real-life experiences at that time. I found images that I felt implied serenity and completeness. I used myself as the central figure being in a state of bliss and rest, receiving heavenly gifts in the form of dew without any questioning or reasoning. The circular nature of dewdrops also presents a very calming feature of wholeness. I sought inspirational passages from the bible about dew like, “May God give you heaven’s dew and earth’s richness– an abundance of grain and new wine.”
Naked
The theme “Naked” evolved from a series of photos I took while learning photography at Edna Manley College of Art. All those years ago when I took the photos, I wasn’t emotionally connected to them since it was to fulfil an assignment, that is until I started having experiences that jarred with the imagery. The images reflected the pain, strife and suffering taking place in my life. The images spoke to me on a deeper level that had me re-examine them and employ them in my work. I looked at the series I created with a pair of newfound eyes. The series naked exemplifies my past work informing the present.
The images spoke to my themes of vulnerability and victimhood. At the time of taking the photos, I decided to use a male figure to explore being naked and exposed. I decided to have a figure draped in cloth that was transparent and not fully concealed—the figure was naked and exposed despite being covered. The veil used in the naked series is suggestive of the idea of rebirth, where it’s almost like an embryonic sac that will eventually be broken to set the figure free.
Wool
The series “Wool” was directly influenced by my experiences of culture shock, identity and experiencing re-occurring cycles of isolation. Wool as a concept seemed suitable to me to symbolize comfort and protection in times of trouble and alienation. This is when I started to create motifs consisting of wool, thorns, afro hair, nature and celestial realms all interconnected to tell a story. I started looking at images of wool and wool fashion where models were completely enveloped in wool clothing. My work also has symbolic references to biblical passages like the scripture “Hair like pure wool.” The referenced passage asserts the notion that hair that is like wool is pure and not something to be hated.
Wool also re-examines stereotypical notions on African American hair. Through the work, I aim to reorient the reality of hair that grows upwards to signify its spiritual connections and roots with a higher power. African traditions of hair styled upwards, defying gravity, to me resembled antenna having the ability to receive spiritual guidance. Inspiration also came from stories such as Samson and Delilah, and the spirit that dwelt in his hair giving him supernatural power and strength to kill a fortified city. The idea that hair could have a spiritual significance is implied in the work.
Growing up I read a lot of Jamaican folklore stories which were meant to symbolize traditional beliefs but in allegorical story form. My work, specifically in this series has a story quality to it, stemming from my exposure to folklore which offers an escape from reality and alludes to the spiritual domain.
Blackbody
The theme “Black body” arose from a scientific theory. In simple terms, it refers to an object that absorbs visible light thereby having a dark appearance. The blackbody is also capable of radiating energy. According to science, the sun is a blackbody. Learning this I felt that much of our existence is governed by the sun and its light. Ancient cultures such as the Egyptians called themselves, “Children of the sun” which in some respects alludes to us also being derivative from the sun. I then conceptualized blackbody as an evolutionary image rebirthed into ascension through the absorption of cosmic light
In the work “Blackbody II” the body starts ascension when the figure is in the process of stripping her fleshly bounds along with foliage and becomes a radiant blackbody mirroring the qualities of the universe. Her skin is dark, yet it has prismatic quality suggestive of embodying all colours of the spectrum. Almost like a baptism, the body becomes one with its galactic surroundings.
In general, the central black body figure also conveys emotional states before rebirth and its ascension to higher consciousness. The figure in some works is immersed in a raging white substance which is the total absence of light, thereby is an active antagonist towards the figure. The substance embodies figures, represents psychological disorder, defies gravity and resembles a man’s emissions. This hostile relationship also hints at the ongoing battle in a world that is between black and white. Overall, the theme explores terrestrial conflict and spiritual rebirth into light. The significance of light is important in the work in that it creates everything, it carries information, colour and without it essentially nothing exists.
You exhibit internationally in Europe, America and Japan. Is there anywhere you would like to exhibit in the future?
Definitely, I would like to have exhibitions all over the world if I could. I’ve recently set my sights on art shows in Australia, Dubai and Africa. I hope to hit those art markets as well.
Has the current Pandemic impacted your art?
Almost like a cursed blessing the pandemic has given me the footing to delve deeper into my artistic practice. I have more time to spend on my art to fulfil new ideas and focus on past works that I didn’t finish. Being homebound also helped me evaluate new approaches to my reoccurring themes. For instance, my wool series typically would be oil on paper, but this time around I wanted to be experimental and I decided to employ mixed media and use materials I was visually tied to. I produced the most amount of work I ever have in the year 2020.
You have a residency coming up at Chateau d’Orquevaux can you tell us about this?
This residency is on a French estate in the countryside of Champagne-Ardenne. It’s for both artists and writers. What appealed to me was the gorgeous scenery, historical architecture and the abundance of nature. The program is self-driven, and the accommodations are made for the artists to be comfortable with limited distractions. The work produced would be a part of a permanent collection on the estate. I had a great experience in Pont Aven France and thought why not return to France with another goal in mind. I like the culture and the people and when I saw this opportunity there was no question in my mind to apply.
I’m also a part of the SPAR virtual online residency in St. Petersburg Russia. Through this residency, I’ve met artists from all around the globe. I’ve received lots of feedback about my work as well as participate in artist talks that have influenced my work. Next month I will officially start my World of Co online residency based in Sofia Bulgaria where I’ll be working on my current series “blackbody”.
Can you answer our quick-fire questions as well? Are you self-taught or art school?
I went to art school and studied art for 5 years. Before going to college, however, I did spend quality time learning how to draw and practised regularly.
If you could own one work of art what would it be?
It would be my work titled “Wool I”. This piece took me months to finish and I was really pleased with the way it turned out.
How would you describe your style?
My style is mostly representational and figurative. I usually have a central figure as the protagonist in my work which is framed in a type of surreal environment, either hostile or symbiotic. I tend to use the same symbols and motifs recurringly. I like to use a sombre palette, consisting of blues, reds and sienna. Sometimes I’ll get experimental and will use saturated yellows, greens or oranges. Mediums of choice are usually oil on paper, but recently I’ve started utilizing mixed media elements like, emboss powder, gold leaf and ink on paper or oil painting on steel. Working on paper helps me to release my creative energy, as it provides a smooth surface with little resistance.
For my digital photography, I like to create cinematographic scenes where the environment actively engages with a body or image. I incorporate the same process just like how I would for a painting, by assembling motifs and symbols to tell a story.
Can you tell us about your artistic process?
My artistic process involves a specific experience or event, spiritual inspiration or scientific concept. I tend to think about and or wait for an image to appear in my head or sometimes the ideas just come to me. I never start a painting without having a preliminary image first then the concept and description of the work comes afterwards. Throughout the creative process, I wait for the materials and imagery to speak to me to tell me what to do. I’m open to making changes throughout the work even if it doesn’t make sense to me at the time, I go entirely with the feeling I have about the painting. I’m always surprised at the end of the work because often it doesn’t end up the way I initially envisioned. I also use reference materials, which drives my concepts, like articles or videos and whatever else I find stimulating.
Is narrative important within your work?
Yes, it’s a very important traditional element. It’s the main tool I used to convey meaning in my work. I find it to be very engaging and it compels the viewer to follow the storyline and examine the details of the work.
Who are your favourite artists and why?
Jenny Saville, Gustauv Klimt & Francis Bacon. I primarily like these artists for different reasons. Jenny Saville takes figurative painting to a whole another level for me. Her portraiture work is both abstract and realistic simultaneously and I love that. Also, her use of colour seems boundless. Gustav Klimt’s work is interesting to me based on how he uses gold leaf to augment his figures making them transcendental or even godlike. Francis Bacon’s work has a morbid, raw emotional component to it which I’m drawn to. He creates interesting architectural spaces and structures to house and frame his ambiguous images.
What or who inspires your art?
Direct personal experiences, scientific topics, spiritual and biblical concepts and influential artists.
Where’s your studio and what’s it like?
My garage has been converted into my studio which is convenient since I tend to be messy and I get paint everywhere.
Do you have any studio rituals?
I like to sit and stare at my work for a long time before deciding on how to paint the imagery. It’s rarely an immediate rush to start painting out my ideas unless I’ve spent a significant amount of time thinking about the subject matter. I like to consider all the working components of the piece and whether they work or not. I also have a process of disliking the painting in the very beginning when the painting makes no sense. This helps me to always be problem-solving throughout the process and never getting too comfortable. My painting process is almost like setting up a huge puzzle with many pieces to sort through and make sense of. I really enjoy either listening to music or listening to a thought-provoking program for hours. I’m reliant on listening to programming that could potentially influence my work and my thought process while painting. I like to have warm studio lighting, although it’s not ideal to paint with, it affects my mood and vibe to paint. I also need to have my works in progress on display, so I continually get new ideas about them. I’ll make notes about each piece and how I would like to take the work further.
What are you working on currently?
I’m currently working on new “Blackbody” paintings in conjunction with my other series “Naked”. I also decided to join an eco-activist group so I’m currently in the process of making environmental works that are sculptural along with linocut printmaking. This project is exciting since I’ve never done environmental art before. I also have a relatively new series called “Technocratic Oath” which is a form of art activism against bullying. I’m working on making it into an artistic practice that involves active community participation. I’m currently prepping works for my solo participation at the START Art fair taking place at the Saatchi Gallery in London later this year. The show will carry a mix of established and emerging artists and will include works from all my current themes. I’m very honoured to be working with START and participating at such a renowned art gallery. Most recently I completed my first online artist talk with the University of the Pacific in Stockton, California, where we spoke about the significance of public art and its importance and connection with surrounding communities. The university’s exhibition dealt with the overarching theme of “Dreaming of Equality”. I’m also a member of the Hammond Museum Japanese Stroll Garden based in New York. I regularly attend artist talks and create works regularly for monthly online exhibits.
Where can we buy your art?
Currently, my works are available on Saatchi.com, Artsy and view on https://www.crystalamarshall.com
