Installation in Memory of Charles Abramson: The Bending of Osanyin (1989-94) Instalacion en memoria de Charles Abramson: La curvatura de Osanyin
Cardboard, black paint, ink / carton, tinta, pintura negra
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Following the sudden and unexpected death of Charles Abramson, the family of the artist and the Studio Museum In Harlem approached Jorge Luis to recreate one of his installations for an exhibition entitled “Art as a Verb: The Evolving Continuum,” which took place at the Studio Museum In Harlem and the Metropolitan Life Gallery. It showcased the work of fifteen African-American artists, and included this po- sthumous installation that had been commissioned. The work consisted of arranging a mosaic using pieces of cardboard that had been cut into different shapes and sizes, and then painted black. The title of the installation alludes to Abramson having been a priest in the Santeria religion. Osanyin is an Orisha associated with healing and natural remedies. The “bending” corresponds to the collaborative nature of the installation, as well as the healing process of the bereaved. Jorge Luis would complete three additional versions of The Bending of Osanyin, each time attempting to channel the spirit of Abramson. The second installation took place at the Capp Street Project in San Francisco, followed by commissions from the Maryland Institute College of Art (MICA), and finally, the Snug Harbor Cultural Center in Staten Island. As originally intended, each installation is unique in its design. At MICA, for example, a white rooster was brought into the gallery to represent the spirit of Abramson; whereas forty-three candles, one for each year of Abramson’s life, were included at the Capp Street Project Gallery.
Despues de la muerte repentina e inesperada de Charles Abramson, la familia del artista y el Studio Museum in Harlem se acercaron a Jorge Luis para recrear una de sus instalaciones para una exposicion titulada “Art as a Verb: The Evolving Continuum,” que tuvo lugar en el Studio Museum in Harlem y Metropolitan Life Gallery. Presento la obra de quince artistas afroamericanos, e incluyo la instalacion postuma que se habia comisionado. El trabajo consistio en organizar un mosaico con pedazo de carton que habian sido cortadas en dife- rentes formas y tamanos, y luego pintadas de negro. El titulo de la instalacion alude a Abramson habiendo sido un sacerdote en la religion Santeria. Osanyin es un Orisha asociado con la curacion y remedios naturales. La „flexion“ corresponde a la naturaleza colaborativa de la instalacion, asi como el proceso de curacion de los desamparados. Jorge Luis completaria tres versiones adicionales de La curvatura de Osanyin, cada vez tratando de canalizar el espiritu de Abramson. La segunda instalacion se llevo a cabo en el Capp Street Project en San Francisco, seguido de comisiones para el Maryland Institute College of Art (MICA), y finalmente, el Snug Harbor Cultural Center en Staten Island. Segun la intencion original, cada instalacion es unica en su diseno. En MICA, por ejemplo, se trajo un gallo blanco a la galeria para representar el espiritu de Abramson; mientras que cuarenta y tres velas, una para cada año de la vida de Abramson, fueron incluidas en la galeria del Capp Street Project.
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