Paul Gardère: Goudou Goudou

Press Release

December 7, 2017 ? January 20th, 2018
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nSkoto Gallery is pleased to present Goudou Goudou, an exhibition of mixed media work by Paul Gard?re. This will be the second solo show of his work at the gallery. The reception is on Thursday, December 7, 6-8pm.
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nPaul Gard?re (1944-2011), a Haitian-American artist of mixed racial heritage was a versatile and complex artist whose work spoke a multilayered language that is at once personal and full of thoughtful inclusion. An astute observer of the world around him, his rich and varied cultural experience was integrated into a critical framework that engaged with issues of history, identity and authenticity. However, he remained philosophically and stylistically an internationalist whose work reflected his integrative approach to life and art. The visual resonance in his work is undeniable, attesting to his ability to seamlessly fuse ancient and modern concepts and aesthetics with nimble intelligence and zestful audacity that confronts tradition while encouraging us to embrace a more expansive definition of modernism.
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nGoudou Goudou is a selection of Gard?re?s final series before his death, produced in the aftermath of the earthquake on January 12, 2010 in Haiti. These mixed media works offer a visceral peek into the artist?s personal response to the disaster. Mud relief and carved wood come together with haunted figures and Kreyol text to emphasize the nature, experience and survival of ?goudou goudou? ? the Kreyol term for the earthquake, the syllables of which evoke the sound of the shaking earth. This body of work is strong, deeply meditative and dense with nuances that expertly exploit the ambiguities arising between darkness and radiance; abstraction and figuration as well as the intriguing play between formal intention and narrative potential. His use of a wide range of materials, styles, and techniques evince a longstanding commitment to cross-cultural hybridization as well as extracting textured patterns, images and symbols from his immediate environment. There is no hierarchy of images ? the path of visual exploration for each composition is of our own choosing, and the viewer interprets the progression of images as though reading a language system. For the artist, the body remains a potent vehicle for the exploration of the human condition in a period of great turmoil, bearing witness to trauma through a visual narration that pays tribute to the strength of a people struggling to survive and move forward.
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nPaul Gard?re was born in Port-au-Prince, Haiti, where he was raised and educated in a privileged environment before coming to New York at the age of fourteen. He sought art education as a teenager at the Art Students League, later obtaining a B.A at Cooper Union and an MFA at Hunter College, New York. He has exhibited extensively both in the U.S and in his homeland. His work is included in numerous private and public collections including the Studio Museum in Harlem, the Schomburg Center for Research in Black Culture, New York; Jersey City Museum, NJ; Figge Art Museum, Davenport, Iowa; Le Centre d?Art, Port-au-Prince, Haiti; New Orleans Museum of Art as well as in the Libraries of the Museum of Modern Art, New York; Brooklyn Museum, Beinecke Library at Yale University, New Haven, CT and the Herbert Johnson Museum of Art at Cornell University, Ithaca, New York.
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nTHE LAST BREATH IN PAUL GARD?RE?S LAST WORKS
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nThe furtive presences, evocative shadows or symbolic spirits that seem to haunt the personas and worlds that Paul Gard?re depicts in the last works he completed before he passed away on September 2, 2011, have generally been in one form or another a constant in his art. It?s through the pivotal role of such beings that viewers at times might find some clue on how to process or meditate on the deadlocked or devastating encounters between the contrasting socio-cultural and political forces stemming from colonialism and its legacy, the core subject of the artist?s oeuvre. But in past works, Gard?re tends to present such supposed agents as mere witnesses more or less objective observers whose roles seem to be to record and apprehend for posterity the ineffable violence and desolation that result from such encounters. They don?t seem disposed to waste their breath on or editorialize about what they observe. But in Gard?re?s last works this is no longer the case: He allows his conjured spirits to dictate or at least set the tone for his staged dramas.
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nThis is a significant shift for an artist who, at least to some extent and strategically, may have marooned, as it were, his attitude toward his subject. The last works are a revelatory tipping point wherein Gard?re chooses sides or, in a sense, comes home. And this of course is not so much a physical homecoming, or even a space in which to hone a more desirable sense of national identity. It?s a philosophic and psychic realization that induces him finally to commit his last breath, so to say, as a supplement to that of the shadowy presences which, in various forms, he has long incorporated in his art. As seen also in the larger pieces among his last works, these invented spirits include the mysterious mud-encrusted hybrid creatures that seem to transcend time and space. They are also presented as emblems of various Vodou lwa (or spirits), such as the ubiquitous G?d? (or short) crosses representing Bawon Samdi, the leading spirit of death and procreation. In some of Gard?re?s smaller pieces, which may very well be fragments planned for larger works?but which nonetheless could stand alone?he presents close-up portraits of such mud figures and, at times, reduces their presence to just their cracked lips.
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nGard?re?s customary distance from his subjects is evident in most of the works he presented in a large solo exhibition at the Jersey City Museum in 1999. It?s worthwhile to examine from this show just one piece, ?Self-Portrait with Hector Hyppolite? (1998). For this is a picture that telegraphs the dynamic that has led to Gard?re?s eventual homecoming, and it exemplifies quite well the previous distance and objective tone he maintains toward his subjects. Appended on the picture?s upper right side on a large field of magenta glitter is a large reproduction in faded colors of Hyppolite?s iconic self-portrait in white jacket and hat and an unknotted pink tie that hangs flat from the white collars of his shirt. (The veteran primitif art-besotted and expressionist artist Emmanuel Merisier would sometimes sport his tie in a similar manner when he roamed New York City?s galleries and museums). Abutting the lower left edge of the picture is Gard?re?s own well groomed black and white self-portrait, with a glint in his eyes. His carefully detailed image shows just the frontal part of his face, making his likeness look like a death mask which, by means of the temples of his eyeglasses, he hooks up behind the ears and over the face of who evidently looks like a Basquiat persona, presented as a hipster with a loose pink tie and a crown of spiky budding dreads. In all, one might be tempted to infer that the subtext of the work has to do with a certain trinity that Gard?re is trying to establish among three artists of various Haitian backgrounds.
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nBut the tenor of ?Self-Portrait with Hyppolite? is such that Gard?re seems hardly interested in such a romanticized, far-fetched alliance?a comradeship he himself feigns to initiate but that he actually proffers more as a bait to the reflexive nationalists among his viewers. (Years ago, the susceptible Merisier was for a long time quite miffed after he tried to reach out to Gard?re who, allegedly, didn?t bother to give him the time of day). The entire work is a sort of tragicomic masquerade about three mismatched artists of quite different temperaments and leanings: Hyppolite, brilliant as he was as an erstwhile Vodou priest turned artist, presents himself as a haloed elect?or as a man-about-town who managed to transcend a life of illiteracy and penury to end up with a meteoric, three-year career that to this day virtually no one even among his would-be champions fully understands or appreciates since, among other vexing problems, most of his works are presumably scattered and, thus, practically unaccounted for. Basquiat, who after his trying days in Washington Square Park and the streets of the East Village, transformed himself into a ?flyboy in the buttermilk,? a wunderkind whose often brilliant art and tragically short career have hardly been parsed to the extent that they?ve been exploited or oversold.
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nThe upshot in ?Self-Portrait with Hyppolite? is that Gard?re negates or keeps at a cool distance all but the masquerade that he presents: It?s as if simply to mimic his two prematurely dead predecessors he, too, were pretending to dress up for a part, as if to crash a big art world party by faking and muscling his way through its gatekeepers, just as he fakes or diligently copies his way through the impressionist garden landscape he attaches under the lower right side of the work. Most importantly, even the masked, partly camouflaged genderless spirit in black glitter that Gard?re juxtaposes next to his rendition of the impressionist garden seems oblivious to his attempted permutations of his identity in the picture. Still and expressionless, it pretends not to witness anything?except that its mien is that of a trickster, protean type. As such, it?s Gard?re?s self-effacing co-conspirator, so to say?the pivotal entity that, in spite of its aloof presence, opens up to viewers the paths to the painting?s various layers of meaning. Gard?re himself, pretending to present the entire picture as if in the socially conscious mode of some of the representational modernists he might have studied with as an undergraduate at Cooper Union, paradoxically maintains, perhaps like one of the unflappable minimalists-conceptualists who might have mentored him in graduate school, a marked and sustained distance from his subject.
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nBut in his last works, Gard?re chooses sides or also comes home in another sense?as a Haitian artist. This is not to suggest, however, that his art practice or aesthetic attitude is similar to or in sync with most of those of his compatriots. For one thing, he may very well be the first Haitian-born artist to have received extensive formal art training at the university level, leading to his earning an M.A. from Hunter College in 1972. More importantly perhaps, he had given himself a sustained and thorough grounding in the art of the original Haitian primitifs from the late-forties and fifties. On those two fronts alone, his is a postmodern sensibility, one that supersedes the modernist variants produced by, say, Hector Hyppolite and Rigaud Benoit, to cite just two artists whose art Gard?re has prominently incorporated in his work. Moreover, in the deliberate way in which he likes to compose his elliptical pictures so as to force or wring out from them?not simply unforeseen?but significantly worthwhile or revelatory meanings, he is more in line with the contrarian Herv? T?l?maque, who settled in Paris in 1961. Gard?re might have unknowingly run into him when he, fresh from Haiti, studied at the Arts Students? League in 1960-61. Nevertheless, much more so than in T?l?maque?one might get a clear indication of this need to be seen through the lens of Haitian art in much of Gard?re?s earlier works?arguably, for instance, in the transparently earnest way he goes about?not just appropriating?but copying both old and modern European masters?as a colonial subject might consciously mimic a colonial tongue so as to sample alternate ways of generating meanings for himself and his audience. Or more obviously, besides his use of Vodou imagery and symbols, one could see Haitian art in Gard?re practice in his constant use of glitter, a ?low? material that brings to mind the look of Vodou flags.
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nGard?re has come home in his last works and eliminated the calculated distance from his subject for other pressing reasons. For instance, far from being about the art world and his place or identity in it, and far from his usual concerns with the old and more recent encounters in the history of colonialism and its legacy, his subject matter in the last months and weeks of his life has become more eminent and personal. The 2010 earthquake in Haiti and, as devastating, death or its premonition in the midst of love have precipitated the shift in his final disposition. In a ?m?nage a trois? work?words inscribed on the painting?s surface?he presents two lovers embracing with the somewhat indistinguishable words Lanmou ak Lanm? (love and death) written under them. (Gard?re?s wife of forty-two years, Marcia, had gotten seriously ill and passed away a few weeks before he did). In a painting about the earthquake, over which he writes “goudou goudou”, the onomatopoeic Haitian word for the fearsome sound of the calamity that took the lives of some two-to three-hundred thousand victims, the artist prominently represents a dark mysterious being with what look like a whip in hand and a bugle in its mouth?as if to galvanize and lend succor to a wounded and dazed upside down figure. The cutoff G?d?cross in the left panel of the picture adds to the idea that the dark figure made out of mud?with a touch of glitter on its head?may very well be a manifestation of Bawon Samdi, who sees through time or through life and death.
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nGard?re dispenses with his customary distance in another of his last paintings, which bears the Haitian word ?katastr?f” (catastrophe) over much of its surface. Here, with Bawon?s top hat crowning its head, the presumed sufferer or earthquake victim being addressed seems to be communing with the conjured spirit which Gard?re subtly presents in the picture with its index finger piercing as if through the threshold between the world of les invisibles (the invisibles ones or spirits) and that of the living. Crucially?and despite the details of the supposed mass graves being dug up by backhoes shown toward the bottom edge of the picture–the artist seems to throw in his lot with the probability of transcending death. This conscious siding with life?and thus, on Gard?re?s part, with Bawon?is symbolized by the numerous pwen (power points or stores of energy) in the form of light dots or small circles that he often dispenses over the surface of his work.
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nThat Gard?re has come home in his last works–and hardly shows any significant signs of wanting to return to the approach that distanced him from his subjects?and that have also led him to his final stance–is also evident in some of what may or may not be fragments conceived for other mixed-media paintings he was planning. Among them is the torso of a trickster-like figure made out of mud as if it hails from Bawon?s realm. Sporting spectacles and what look like optical instruments, he points an accusatory or cautionary finger. And as if to commit himself even further in his new disposition, Gard?re depicts in another supposed fragment, which may well be a complete work in itself, the profile of a mud figure with what looks like wings on its back. But, conspicuous as it is, though this primordial hybrid figure appears self-contained and visibly inactive, it?s plausible that it?s Gard?re himself who has directly enabled its cast shadow to gesticulate with an arm, especially since the figure itself does not show or even possess an arm. It?s also Gard?re himself who seems to have amplified its inaudible speech?as if the shadow in his art, as well as the invented spirit that inhabits it, finally and once and for all, were his mouthpiece.
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nAndre Juste
nDecember 2017
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