(light piano music)
- It's a very strange thing to see 20 years
of your practice displayed out.
Works from the 90s and then works
from a couple months ago in the same space.
I got a chance to experience that
in the Perez Museum, and then at the Barnes Foundation,
and then now at the ICA in Boston.
My name is Nari Ward.
I'm a visual artist.
I do large scale installation art and sculpture.
I was born in Jamaica, in Kingston, Jamaica,
and in the 70s I came up to New York City.
(birds chirping)
My work starts at a very personal space.
These are things that keep me up at night:
social injustice, violence, the numbing oppression of power.
It's like, how do I give them form.
And then I would find something
or see something on the street
that says there's a story here.
(moves into calming music)
Iron Heavens.
This piece started out about how
to express violence or aggression.
At that time, in my neighborhood,
in certain bodegas, they would always have a baseball bat.
And it made me start to think about the bat
as an element of aggression.
I wanted to do something with these bats.
I needed to transform them.
So I would put 'em in this big barrel,
and sort of cook them, and then take them out
before they'd all burn apart.
The idea was once they were scorched,
they had to be redressed, this element of regeneration.
So these bats that were scorched
were then embellished with cotton.
And for me, the cotton was a material for healing.
But it needed something else.
What triggered it was a memory of astronomy class
where the teacher was talking about the night sky.
This is by the time the light has gotten to us,
those stars no longer exist.
And there's this element of loss.
Once I started building the night sky
of oven pans in my studio, it just made sense
that the oven pans and the baseball bats
have some kind of dialogue.
Iron Heavens probably has close to 300, maybe 400 oven pans.
And that happens in a lot of my practices,
like you go on this mission of finding
specific things over and over again.
(building bouncy music)
I want to pull the viewer in, make them curious,
make them want to look, make them want to think.
Sun Splashed was done in 2013
when I was at the American Academy in Rome.
This sense of feeling displaced made me wanna talk about
this identity of being a Jamaican.
And it was really talking about this idea
of not belonging to any one place.
You know, when I'm traveling,
I become a Jamaican artist, which is really strange.
When I'm here, everybody is just an artist.
If you choose to highlight your ethnicity,
then that's on you.
Maybe it's another segue into history, right,
and then what aspect of our history do we care
to focus on and what aspect we care to just normalize.
There are things that you can claim for yourself
and empower yourself to say yeah,
that's just as important as where I was born.
That idea that you can claim
your own history is really important.
We're all coming from somewhere.
And sometimes it's necessary to be lost
so that you kind of figure out things for yourself.
And I feel like that's what art should be about.
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