Known for his master narratives, vivid re-imaginings of imperial history, and playful revival of colonial portraiture, Los Angeles-based artist Frohawk Two-Feathers directly references a legacy of historical art while troubling it with the modern. His upcoming solo show at Taylor De Cordoba, opening this Friday, is no different.
EC: You’ve been telling the history of the Frenglish Empire, a fictitious blending of 18th century imperial England and France, for some time now and this show focuses on your reinterpretation of the Haitian War of Knives… How has your work changed since your last L.A. show?
FTF: Instead of the whole Haitian Revolution, I’m focusing on parts, like a wide-angle and zoom lens at the same time. I’m peeling back the layers so my audience can see more of the characters. I have more of a handle on how I want to present the image and I’m getting more comfortable with compositions. It’s a perpetual learning process trying to narrow things down to get to the more intimate history that I’m recreating.
EC: I know a lot of people focus on the narratives behind each character and portrait, but I continue to be intrigued by the framing devices you use. I noticed that you shifted from the smaller, elliptical frame to a much larger frame with a rounded top and angular bottom. What made you switch to this new shape?
FTF: The new shape has multiple meanings. I like the shape first and foremost. The frame I use to make the outline came from a mirror, so it’s like people are looking at themselves when they look at my portraits. The shape also references a gravestone because everyone in the series eventually dies. Additionally, it references an Egyptian cartouche pattern, which is fitting since Egypt factors into the symbology and secret orders I reference, including the Company Crocodile……
Reframing History: In the Studio with Frohawk Two Feathers, by Ellen C. Caldwell, February 16, 2011.
