Study for the Ti Chèz

$7,500.00

(Little Chair) Series “Bat chen an tenn mèt li” (beat the dog, and wait for its master)
Andre Juste
(2020)
Plywood, hemp cord, black coffee, pigment wash
21″ x15″ x15″

In stock

SKU: AJ-Plywood-01 Categories: , Tag:

ARTIST’S STATEMENT

I have sought to create works of art that are emotional and
objective and that aesthetically draw from the western modernist
tradition as well as from my own personal or Haitian background. From
the start, I have opted for works that possess a great deal of physicality
and that are also leavened with energy so as to convey different or
contrapuntal levels of meaning. To counterbalance the subjective
visions from which my art often originates, I rely on creatively factual or
systematic procedures—in a sense, on aesthetic rituals—so as to make
them more enduring and objective. But in order to prevent such
counterbalancing from stifling this deep, often painful feeling that I have

somehow historically absorbed wherein self and world or the mind-
body complex interfaces with the external order, I have had to reinvent

both my subjective visions and my objective or rational sense. To attain
such a reinvention, I implement my ideas and visions with exuberance,
as if half-blind, sometimes straining at and often breaching the mental,
cultural and aesthetic boundaries that I have accepted or set for myself.
My relief paintings and sculptural installations have become
increasingly more theatrical (as in the “Pedro” series), but I intend to
maintain a playfully rigorous or rational method of implementation.
Thus, I perceive some of the would-be “old world” or subjective themes
that I concern myself with—death, power, freedom or even salvation
etc.—through “new world” or objective lenses. For one thing, this keeps
me from being wholly enthralled by either world or from indulging in
elemental subject matter for its own sake. Moreover, this approach
allows me to reach perhaps a more meaningful unity of form and
content—but not simply to achieve a passive harmony in the external
look of my art. I seek a unity that reflects an internal process that
affords me the latitude to impugn the purview of both form and content
and of the “new” and “old” worlds. Such an unsettled unity, I believe,
engenders a dynamic through which both ideation and objectivity can
coexist—that is, a space wherein ideation itself perhaps could be
divested of its innate totalizing potential. It’s through this hard-won
unity that, in concert with both my abstracted and actual community, I
attempt to overcome the strictures of an enduring world order.