Napoleon Jones-Henderson's electric Kool-Aid colored tapestries, animated mosaics and shrine-like sculptures are on view in “I Am as I Am—A Man,” the ICA’s long-overdue survey of his work.
Installation view of"Napoleon Jones-Henderson: I Am As I Am – A Man" at the Institute of Contemporary Art Boston, 2022.
“Most principally, they were to be positive images,” he says. “There was the use of words and the aspect of color. And the color was to be clearly bright and vivacious.” It was color, he says, to help “people move themselves to a better place.”Jones-Henderson has dedicated his life to creating images that are “representative of the beauty of Black culture.
“That shine is the thing that Black people are exuberant about,” says Jones-Henderson. “You definitely have to have your shine on when you went to church and other important events like parties and birthday celebrations.”And shine his work does. Integrating African ritual sculpture, Southern vernacular architecture, and references to revered African American artists, Jones-Henderson has created works that are simultaneously celebratory and sober.
“‘We must come together to defend our communities,’ that's part of what TCB is about—taking care of business, being supportive of your community, starting with your family and extending out to the larger community and then extending out to the larger African world.”In another tapestry from 1975, we see the words “Stop Genocide.” The plea is woven of red and orange wool yarn set over an arresting patterned background of purple and blue.
A section of the exhibit is dedicated to elaborate “shrines” that Jones-Henderson builds in honor of those who have passed. In some cases, he regards these as a quiet place for restless souls who met a tragically violent end.
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