I see things in stark contrast, shades of black and white. When I paint figures it isn’t just a smile or a spark in their eye that I see, but rather an emotion inspired from their energy and character.
My forthcoming collection represents a combination of my cultural identities, creating art for a future generation from visions of an African past.
My earliest memories are of my childhood in Africa. From the vastness of its savannas to the intricacies of its tribal cultures. Etched in those memories are vivid colors, each having a special meaning for the people who so proudly displayed them. Those visions are some of what influences my works of art; both ancient and contemporary. A fusion of what has been and what is yet to come.
One such memory is of my twin brother and our housekeeper Saquawa. Our family was living in Liberia and Saquawa would often carry my brother and I together, bound to her body by brightly patterned cotton pieces of fabric, me on her front, he on her back. We went everywhere around the small Nimba Mountain Yekepa community with Saquawa, a woman gentle yet stern. She often shared stories about her village, the people of the village and their unique customs. I remember the only time we saw Saquawa angry and it is a moment I will never forget. It was the week before Christmas and Saquawa told our parents that she could not take my brother and I to visit the other houses as she normally did. This was the time of year when the local Liberian secret societies sent tribesmen to find sacrificial humans for their rituals. Children were highly sought after as their spirits and juju were believed to be good luck for the secret society. At only three years old, I might have been snatched away had it not been for Saquawa’s refusal to keep us that day.
What I heard and saw that morning was a stark reality with no frills, no encumbered meanings, and with many lessons from which to learn. So began my welcome to the mystical land of Africa. My father had grown up and lived all his life in Africa. He took time to help my brother and I understand different beliefs and what drives the minds of unique tribal cultures. Namely, how important it is to understand, accept, and above all else, refrain from judgment.
When my family moved to America I felt incredibly torn between two strong cultural identities. I have since learned that I can harness both cultures. In fact, if I failed to acknowledge both African and American traditions, I would not be my true self.
I am currently working on a painting of two Surma tribespeople, a nubile woman and a virile young man at a social dance in southwest Ethiopia. The original photographs were taken by my father in 1971. The photograph captured what I too strive to capture on canvas; tension, emotion, dust dancing to the sound of throbbing drums, and the vision of raw sexual potency alive and well in Africa. I am now introducing modern elements and figures of my contemporary life within this painting. A fusion of old and new, past and present, and what is yet to come.
For me, art is about people. I strive hard for others to not only see, but to be touched by my works. If I have done that, I have succeeded.
To see more of Tessea’s art, visit her website at www.tesseart.com or contact her directly at [email protected]