Yrneh Gabon

1.
Yrneh Gabon
Gimmi Sheltah
2023
Mixed media on canvas
47 x 87 in
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The philosophical foundation of “Gimmi Sheltah,” a Jamaican colloquialism translating to “give me shelter,” encapsulates a profound plea for safety, love, and security—a poignant cry reverberating against the backdrop of contemporary global deficiencies in these essential facets. Stemming from my latest artistic endeavor, “Spirit Lead Me,” this piece is from the current body of work and forthcoming solo exhibition scheduled for February 2024. The figure, adorned in an opulent white grand Boubou—a vestment steeped in West African Senegalese tradition—serves as a canvas for self-expression, acting as both a conduit for messages and a celebratory medium elevating the human spirit. The inclusion of reptilian and amphibian motifs, coupled with intersecting lines, acts as an invocation of unseen forces, promoting an acute awareness of life’s intricate ballet between balance, cycles, and the perpetual interplay of predators and prey.

2.
No flowers please
2023
C print
24 x 36 in
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The photographic portrayal featuring Sena, a young man from Joal, Senegal, surrounded by the vibrant hues of Bougainvillea Flowers, encapsulates a moment frozen in time from the year 2018. Titled “No Flowers Please,” this composition draws its narrative impetus from a profound encounter in Senegal, wherein the pursuit of a florist to express gratitude was met with a profound realization. The subject, instead of harboring an affinity for floral gestures, articulated a preference for sustenance in the form of food, fruits, vegetables, or financial assistance. This experiential revelation underscores the significance of meeting individuals at the nexus of their tangible needs while illuminating the empowerment derived from responsive engagement.

3.
The auction block
2008
Giclee
26.5 x 35 in
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Unveiled during my inaugural exhibition at Ponder Kone Art Space by CCH Pounder in 2008, “The Auction Block” resonates as a somber reflection on the enduring legacy of the Atlantic slave trade. Analogous to the merciless transactions of our forebears, this piece transcends gender and age, unflinchingly bearing witness to the commodification of human lives. Within the overarching thematic arc of “River Denial,” this work underscores the historical entwining of Christianity, symbolized by the cross, with the brutal crucible of the Atlantic slave trade spanning 1526 to 1867. A stark reminder that the echoes of this grim past persist in the present, manifesting in facets as diverse as the arts, sports, entertainment, education, and various sectors of the business landscape.

4.
Mining family
2023
Giclee
26.5 x 35 in
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Mining Family” serves as a poignant exploration of familial collaboration against the backdrop of laborious salt mining at Lac Rose (Pink Lake) in Senegal. Capturing the ethereal bond shared by a woman with a child on her back and a man navigating a boat laden with salt, this tableau delves into the universal theme of labor’s exigency and the often dehumanizing conditions endemic to mining practices across the African continent. This work, born out of a commitment to veracious representation, underscores the imperative of contextual understanding and factual inquiry in the artistic process.

5.
Just another day
2023
C Print
26.5 x 36 in
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Just Another Day” is a visceral encapsulation of the quotidian struggles etched into the saline shores of Lake Retba, renowned as Pink Lake. With approximately 40% salinity, this aquatic landscape serves as a crucible for men immersed in chest-height waters, tirelessly excavating salt from the lake bed. Beyond the visual aesthetic, this project metamorphoses into a broader exploration of the social and ecological ramifications of labor, provocatively engaging with the tenets of civil responsibility. The title, “Just Another Day,” assumes a nuanced resonance as a rhetorical rejoinder to the pervasive apathy toward those relegated to society’s margins.

6.
Me and my suitcase
2023
(Special embellished limited edition)
Giclee Print work on paper
24 x 36 in
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Me and My Suitcase” assumes a multifaceted narrative, symbolic of the complex interplay between roots and branches within the African diaspora. Offering a poignant homage to the Windrush Generation, denoting the influx of Caribbean immigrants to Britain between 1948 and the 1971 Immigration Act, this artwork transcends mere aesthetic representation. Delving into the historical depths, it confronts the exploitation reminiscent of Mammy/nannies, while also holding the British Government accountable for its historical perpetuation of racism. The titular phrase, “Me and My Suitcase,” imbues the narrative with a profound ethos of individuality and ownership, encapsulating a nomadic yet meticulously organized identity throughout history and time.

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