Exhibitions
on viewGhetto Funeral: TenBerke
March 18, 2024- June 7, 2024
TenBerke Architects, Madison Ave, NYC "Ghetto Funeral" features recent paintings and tapestries that highlight the family histories and memories, collectively representing Maubert's community in Homestead, FL-- the lens through which the artist explores loss of home, culture and place and invokes conversations surrounding gentrification and displacement. Inspired by the culture of Homestead, through a series of large scale paintings, Maubert documents daily life through portraits of family, community, joy, and grief through the exploration of material culture. The work ultimately is a series of large scale vignettes as exercises in memory and grief.
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CLOSEDAs We Move Forward: Augusta Savage Gallery
Feb 7- May 1st, 2024
Augusta Savage Gallery, Amherst, MA This piece is a gold chain, exhibited as part of a curated group show of Black women artists from Miami at the University of Massachusetts Amherst’s Augusta Savage Gallery. Inspired by Savage’s life as a sculptor and portrait artist, as well as heritage to South Florida, raised questions for me as an artist working in the contemporary South, whose modern relationship with metal exists at a much more intimate scale-- through bling culture and jewelry. Elaborating on her practice as a bronze portraitist, I used my parallel experiences and heritage to inform my contemporary interpretation of her practice by making a modern day chain. This piece hopes to deposit another artifact into her sculptural repository, with an acute sensitivity to home. Thinking about the ways that Black women and men adorn themselves with gold, rich and ornate jewelry practices in the South, I made a piece that is both audacious and nostalgic of this practice shared by both Black men and women in the South and Caribbean. It also is playing on gender constructions and sensorium given that large chain ornaments are typically worn by men, where scale becomes the gendered construct. This work was designed by the artist, fabricated by Atelier Legacy.
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closedGreenSpace Miami: Queen of the Swamp — Poe Lil Rich Girl
November 18- March 31st, 2024
GreenSpace Miami, FL This project relies on the aesthetics of rappers Trick Daddy, Trina, Jacki-O, City Girls, Uncle Luke, and DJ Uncle Al, to consider urban and environmental challenges to the politics of visibility and visuality of impropriety within the built environment. These artists often used block parties and the appeal of Black aesthetics to disrupt gun violence within their respective neighborhoods. This work uses the block party and their attending aesthetics as an alternative way to navigate environmental violence, advanced marginalization, and displacement of Caribbean communities, proposing a study of the material culture of said artists to yield a new type of architecture. Miami Bass’s material culture includes gold teeth, jewelry, and donk cars, which are the material residue of the Saltwater Railroad. Such an aesthetic represents more than pure contact; it offers an entry point to consider the material and conceptual terrain through which one finds innovations of culture, identity, and space. This cultural geography allows research to expand from the Everglades and traverse a larger cultural terrain, including the Caribbean, Florida, Georgia, and the Carolinas. This work is interested in identifying a Miami architectural vernacular and uses its aesthetics as a solution to our swampland’s woeful reputation as being uninhabitable.
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closedAIRIE Artist in Residence in the Everglades:
Queen of the Swamp — The Saltwater Railroad This project, "Queen of the Swamp", is an acknowledgment of Miami's Bahamian history and its vital ties to a larger cultural geography of Southern and Indigenous aesthetics. It draws upon Miami's history of Bahamian laborers' construction of Miami's infrastructure on porous rock, and their present descendants' influence on Miami Bass culture. In many ways, Miami's Black and Indigenous communities are the instigators of Miami's original architecture, infrastructure, and present culture. This work is interested in identifying a Miami architectural vernacular and uses its aesthetics as a possible solution to our swampland’s troubled reputation as being uninhabitable. It experiments with aesthetics of impropriety as a solution.
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closedCornell Hartell Gallery: Hymns From a Burning House — Haitian Dispossession
I wish I could testify that I came to know my heritage because of my easy feeling of belonging. But it was a foreign intimacy that let me know how much heritage mattered. As I went out into the world, I was troubled by the dispossessive force of disruptive stories, when my innocent questions were confronted with tales of poisons, zombies, and capture; of unreliable actors and insurgency; of riches, pearls, and unfounded debts. I was troubled and fascinated by these stories, which blurred the boundaries of history and humor, and found myself struggling to untether myself from what might be a great folktale or might be a vital lineage. I longed for the fleeting feeling of freedom I knew as a child, when my father would tell me stories of my heritage, of Haitian heroes and of the Haitian Revolution. It broke my heart as I grew older, to hear my father say over and over, "Did you see Haiti is on fire again?" I'd witness distorted images of a church on fire, women looking dazed in the street, and these terribly beautiful photos of bedrooms, couples tethered to each other in embrace. I hesitate to represent these images, though I feel the need to call attention to the ease with which we make a spectacle of Haitian suffering — and to illuminate how Haitian women's brilliant experiments with homemaking, intimacy, and the performance of daily life are often overlooked.
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closedCornell Sibley Hall: Intimacies of the Walls
September 19–October 8, 2022
Cornell East Sibley Exhibition Hallway, East Sibley Hall Exhibition Details This exhibition seeks to examine the conditions that precipitated the disappearance of Miami's shotgun house. Tracing the historiography of the shotgun house from its origins in pre-colonial West Africa to its most recent mutation in 1939 Miami’s Liberty Square housing, a 243 one- to two-story unit project, I chart the ways that the shotgun horizontally expanded urban environments, mediated processes of racial perception and tension in the United States, prompted by the end of Reconstruction, mass migrations, and immigrations.
This event is showcasing the works of Sydney Rose Maubert, related to her seminar course Intimacies of the Walls. It seeks to examine the way that race altered the cityscape, and the ways that racial conceptions informed its informal architecture and economies. It views Miami through a black femme lens. |