Interview with Nard Lee
Unveiling the dualities of life, my art thrives in the spaces of light and shadow, loss and hope, defiance and compliance. I employ rich, intense hues that beckon while challenging, orchestrating a magnetic tension within each piece. A distinctive union of acrylic, chalk, and oil pastel ignites a confrontation of textures and tones, amplifying the potency of the work.
These layered creations—subtle yet startling, intense yet inviting—ruminate in a delicate balance of beauty and disquiet. Inspired by the prodigious Jean Michel Basquiat, the surreal Salvador Dali, and increasingly, the urban expressionist Marcus Jansen, my style has evolved but maintains its connection to these masters.
Raised in the stark contrasts of Southeast Washington, DC, I infuse my city's influence into every stroke. My work seeks answers to the unresolved, probing deep into the heart of racial inequity, class divides, political discourse, and religious tension. The perspective is unmistakably drawn from the lens of the underestimated observer, acutely aware of society's perception of his race and identity.
I strive to inspire introspection, to challenge preconceptions and transform the way we perceive our world. My paintings, raw and rugged, embody a cryptic narrative that may elude the casual viewer. I invite you to delve into the intricate detail, to discover the profound narratives embedded within, bestowing my art with profound resonance and depth.
What pivotal moments in your life led you to adopt the role of a "revisionist historian" in your art, and how do those moments continue to shape your work?
"I don’t know if there was a single moment, but there have definitely been occurrences that led me to question what we all assumed to be true. I’d like to believe I began adopting it because new evidence was produced, but in my art, I have also adopted a 'what if?' approach. This allows me to add an element of creativity that might not have been there if I only approached it from a purely historical perspective."
Your work uniquely blends various media like canvas, acrylic, chalk, paper, and oil pastels. Can you describe the process behind choosing these specific mediums for your pieces and how they contribute to the narratives you aim to portray?
"It depends on what inspired me for the piece. Sometimes I want depth and for the audience to feel the roughness or coarseness of the mediums on the canvas. For instance, in “Jefferson,” I used a thick acrylic to elevate the phrase from the Declaration of Independence. Spray paint was also used to create an aura around Jefferson of “Godliness.” In 'Above the Scar Tissue,' band-aids were combined with other mediums to invite the audience to touch the piece. I hope my choice of mediums guides the audience through the narrative, but of course I welcome their interpretation.
Growing up as an undervalued child in Washington, DC, how do you feel this background has influenced your artistic perspective, especially in terms of addressing themes like racial inequity, social class, and religion?
"I love Washington DC, especially Anacostia, where I was raised. I attended Catholic schools from first grade to high school, and religion was a daily class with mass twice a week. Simultaneously, I went to a Baptist church with my grandmother on occasion. In elementary school, I was lucky to have almost daily black history classes that shaped my knowledge of black history. On Sundays, I'd explore the other parts of Washington DC with my godfather – museums, the Kennedy Center, Cathedrals, the zoo, and affluent neighborhoods. This gave me a unique view of a city that mostly ignored me outside Anacostia. In the Southeast, people were friendlier, but outside, that warmth was absent.
As one of the 30 artists to collect in 2021, as recognized by WBM Luxury Guide, how do you feel this acknowledgment has influenced your journey as an artist? Can you share insights into how being listed among such esteemed contemporaries has affected your creative process, your visibility in the art world, and the reception of your work by collectors and art enthusiasts alike?
"I love Washington DC, especially Anacostia, where I was raised. I attended Catholic schools from first grade to high school, and religion was a daily class with mass twice a week. Simultaneously, I went to a Baptist church with my grandmother on occasion. In elementary school, I was lucky to have almost daily black history classes that shaped my knowledge of black history. On Sundays, I'd explore the other parts of Washington DC with my godfather – museums, the Kennedy Center, Cathedrals, the zoo, and affluent neighborhoods. This gave me a unique view of a city that mostly ignored me outside Anacostia. In the Southeast, people were friendlier, but outside, that warmth was absent.
What have been the most significant challenges you've faced in intertwining art with historical revisionism and social commentary, particularly in the vibrant and diverse Miami art scene?
"I wouldn’t call the intertwining of art, history, and social commentary challenging; art is meant to challenge. It should provoke new questions and perspectives, and sometimes discomfort. Miami, a city rich in history and thriving on diversity and energy, is unique. I often describe it to friends as a place where you can feel the rhythm of the city on the pavement in your feet all day, every day."
Could you walk us through your creative process, from the conception of an idea to the final stroke of the brush? How do you decide when a piece is complete?
"I always need inspiration. I’m not the type of artist who can decide to paint and achieve a set goal in a day. My aim is to be surprised by the outcome of my work. If I find a piece predictable, I start over. My process involves seeking reasons to dislike a painting, forcing me to ask difficult questions about what I'm trying to convey. Once I'm satisfied with the answers, the piece is complete."
Your work serves as a tribute to the indomitable spirits of the past. How do you choose the historical figures or events to depict, and what do you hope viewers take away from these immortalized narratives?
"Choosing a protagonist is crucial, whether it’s a person or a historical event with details that need further exploration. This includes former presidents, slavery, stereotypes. However, most of my work defends those who have sacrificed for many. For example, in 'Old Glory aka American Reflection,' the stripes contain images of slaves and slave-owning presidents, with a broken mirror shaped like a star reflecting the viewer. This invites introspection on American slavery and its historical figures."
Looking forward, what new themes or techniques are you eager to explore in your art? Are there any specific projects or collaborations on the horizon that particularly excite you?
"Regarding new themes, I’m still exploring social, religious, and racial issues. But what fascinates me is artificial intelligence. My concern is that people of color may not adopt AI at a sufficient rate, potentially widening economic disparities. I’m developing ideas around this fear."
