I used to think that memory was a stable thing, where I could recall moments as clearly as they happened. Unfortunately, the instability of memory is fragmented, leaving me to link moments of happiness from my childhood with relics of the past: a jug of orange juice, a worn-out butterfly net, my favorite Speedo swimsuit. Mining the history of objects linked to her Bahamian heritage, Kendra Frorup is interested in the influences of culture on expression, and creates a moment of recall between the tangible things from our past with the creation of identity and community in her solo show Flamboyant at HCC Ybor.
And unapologetically flamboyant she is in the decorative presentation of her work, with spray-painted foliage showering the walls to turn the sterile white cube of the gallery into a pattern-filled space more reminiscent of “home.” The Caribbean influences of textiles, craft, elaborate patterning, color palette and repetition all form a singular identity for the artist, yet her work reaches for a bigger picture.
In a blend of mixed media, printmaking, and sculpture, simple objects like an old cooking pot become triggers for conjuring up moments of bustling family gatherings, as in “Tin Can.” Capturing the haziness of memory, Frorup leaves us with an upturned, well-worn tin crock placed on an abstracted background. Though there are hints of personal narrative, they are left open-ended, since we all can relate to the intrinsic value of a cooking utensil passed down through the family.
Titles help complete the poetry of the works further by giving us bits of the artist’s history, as in “Nana’s Bananas.” Breaking the conventional picture frame, the cast banana cluster lies on top of the protective glass instead of under it like the printed part. On the right-hand side of the print, a woven basket has been pressed into the paper, leaving colored ink as well as its own fibrous impression in the paper. The craftsmanship behind each piece of woven thread is equivalent to the hard work behind “fine art.”
Although Frorup’s statement focuses on influences from her heritage as well as her travels to Ghana, South Africa, and Tanzania, it’s also interesting to note Western influences from her education in the states (MFA from Syracuse, BFA from University of Tampa). Traditional elements are stripped down instead of becoming ostentatious (they aren’t flamboyant by today’s standards, but they surely are lively and eye-catching). In the cross-pollination of cultures (and thus, the artist), a richness comes from sharing influences, but also in tracing them back to their roots.
Out of all of the work, the piece that stands out the most is the smallest: “Olive,” an etching of a faceless doll, possibly from the artist’s youth. The tenderness — of touch, of reliving a pleasurable memory from childhood — is powerful in its intimate, modest scale. Frorup even upends the concept of printmaking, since each piece is its own finished product — there are no photocopy duplicates. Each has its own identity, whether it’s the handmade paper she prints on, or the irreproducible marks or swabs of paint made on each piece.
Even if you’ve never visited the islands, you can get a feel for the culture through her vibrant works. They speak to the togetherness, resourcefulness, compassion, attention to detail, cultural pride, and celebration of life that she seems to want to portray about her heritage. There’s a special place in Frorup's heart for the Bahamas that she exuberantly shares with the community here.
Caitlin Albritton, CL Tampa's visual arts critic, spends her time tracking down art you might not see anywhere else. She's also an artist in her own right. Follow her on Instagram or read her blog.
Kendra Frorup: Flamboyant
Through March 21.
HCC Gallery Ybor City Campus Performing Arts Building, Palm Ave. and 15th St., Ybor.
This article appears in Mar 2-9, 2017.
