Feel the Devotion of Genesis Tramaine’s Work Through Her Solo Show “Evidence of Grace”, at Almine Rech, Brussels

To put it simply, the work of Genesis Tramaine will capture the spectator, no matter what perspective or point of view. Looking at the body of work presented in Evidence of Grace, every single aspect of the artist and her work is brilliantly clear. Through her stroke, Tramaine is able to exhibit a strength that is both in artistic abilities, and soulful character. The urban style that characterises the artist, along with the bright and contrasting color palettes, the central and consistent placement in composition, all point towards the message of unity and peace that artist is able to communicate.  The boldness through which Tramine approaches the identity of her subjects, and the way she has been so outspoken about the gender fluidity and other aspects within the core identity of her subjects as a central theme, and how she immediately ties it up with her core devout beliefs, is a new light of hope in what has occurred worldwide in the last year.

Singer of Psalm, 2020, Oil stick, oil pastel, holy spirit, 128.9 x 121.9 cm, 721/8 x 48 in., Courtesy of the Artist and Almine Rech, Brussels

Tramaine’s work is based in the study of portraits. Off the bat, as visual interpreters, we see how the artist has a clear understanding of classical forms of composition, and she evidently brings that to her own style. The monochromatic backgrounds are of bold color that generate an instant feeling of the depicted subject. As we look at the garments or torsos, they also  contribute to understanding the subject. The artist is bringing forward her own visual perception of biblical figures, in ways that have rarely been seen in a rising contemporary artist. She performs a methodical structure of symbols and messages to be read exclusively in a devotional context. The portraits exhibited in Evidence of Grace are an homage to the complexities presented to the U.S. and the world in 2020. “The resurgence of racial tensions in North America’s mainstream discourse, and the Black Lives Matter movement that has shifted our social consciousness”, were the predominant themes occurring in pre-COVID United States. Along which, of course, came the worldwide pandemic, which in its course left a subsequent societal mess. The result, a collection of large scale paintings that present themselves as an approach to navigate and try to understand these occurrences by looking inward.

Oh! King! David!, 2020, Acrylic, Gouache, oil Sticks, oil pastels, Yahweh!, 243.8 x 182.9 cm, 96 x 72 in., Courtesy of the Artist and Almine Rech, Brussels

Tramaine approaches the work with a calculated, studied, and meditated depth, that resembles that of a prophet. Throughout her practice, it’s evident that her work exists fully all in one room, because they are all crucial cogs in a larger story. All that methodical backdrop is intensified when one is surrounded by this collection of massive paintings asking to be conversed with. One quickly comes to realise the treasure Tramaine’s work is. It’s easy to become lost in a philosophical analysis of this œuvre, however an equally important aspect to discuss is the artist’s style. Her ability to communicate identity through these figurative, abstract portraits come to life through the stroke. Think about it. Each of these paintings is at least 72 inches high. Each of these strokes is a strong, physical movement that is actually a song (or dare we say “hymn”) of expression, passion, fear, anguish, in the face of her subjects.

Brother Abinadab, 2020 Oil stick, oil pastel, holy spirit, 182.9 x 121.9 x 6.3 cm, 72 1/8 x 48 x 2 1/2 in, Courtesy of the Artist and Almine Rech, Brussels

The facial features of the subjects, abstract and figurative, vary from subject to subject in the exhibition. Something that strikes me as the viewer is the consistency of seeing multiple sets of eyes on the subject in each painting. it made me see the ever-changing, multifaceted experiences that have become our daily lives. The happiness, hope, and new-found appreciation, being counterbalanced by uncertainty, fear and anguish. It’s important to point out the equal force used on both parts of this balance. The artist is able to portray that just as powerful as is fear to set us back, is the power of happiness and beauty, and our ability to bounce back. Tramaine’s work is reassuring of her faith in humanity, as well as is her fear of humanity. The duality appears all through the visual components used in her work. As mentioned in the press release, this unapologetic, genuine, body of work could easily be argued as her best work…yet. Genesis Tramaine’s culmination of visual talent and a deep self-understanding of both body and spirit, really brings us to only to early wait for whatever she comes up with next.

Fighting Demons, 2020, Acrylic, Gouache, oil Sticks, oil pastels, Yahweh!, 182.9 x 182.9 cm, 72 x 72 in, courtesy of the Artist and Almine Rech, Brussels

Genesis Tramaine’s solo show was on view from early January through February, 2021. It was a fabulous treasure to stumble upon while strolling during a cold Brussels winter that provided the opportunity to become hopeful, if only for a few minutes, of what the prospects of a new year could bring our way. Like I said before, we are left with the anticipation of Tramaine’s visual and spiritual path. Continue scrolling down to see more works in Evidence of Grace.

Annointed Son, Oil Stick, oil pastel, holy spirit, 182.9 x 121.9 x 6.3 cm, 72 1/8 x 48 x 2 1/2 in, courtesy of the Artist and Almine Rech, Brussels

Saint Abigail, 2020, Oil stick, oil pastel, holy spirit, 182,9 x 121.9 x 6.3 cm, 72 1/8 x 48 x 2 1/2 in, Courtesy of the Artist and Almine Rech, Brussels

Saint Bathsheba, 2020, Acrylic, Gouache, oil Sticks, oil pastels, Yahweh!, 243.8 x 182.9 cm, 96 x 72 in, Courtesy of the Artist and Almine Rech, Brussels

David and Goliath, 2020, Diptych – Acrylic, Gouache, oil Sticks, oil pastels, Yahweh!, 182.9 x 182.9 cm (each canvas), 72 x 72 in (each canvas) in, Courtesy of the Artist and Almine Rech, Brussels

Bond of Angels, 2020, Oil Stick, Oil Pastel, holy spirit, 182.9 x 121.9 x 6.3cm, 72 1/8 x 48 x 21/2 in, courtesy of the Artist and Almine Rech, Brussels

Evidence of Grace, 2020, Acrylic, Gouache, oil Sticks, oil pastels, Yahweh!, 243.8 x 182.9 cm, 96 x 72 in, Courtesy of the Artist and Almine Rech, Brussels

Mother Saint Ruth, 2020, Oil stick, oil pastel, holy spirit, 182.9 x 121.9 x 6.3cm, 72 1/8 x 48 x 2 1/2 in, Courtesy of the Artist and Almine Rech, Brussels

First I Believed, 2020, Oil stick, oil pastel, holy spirit, 182.9 x 121.9 x 6.3cm, 72 1/8 x 48 x 2 1/2 in, Courtesy of the Artist and Almine Rech, Brussels