The gallery describes the works thus: «Focusing on the body to impart the paradoxical relationship between Jamaica's traditional expectations of manhood and the flamboyant aesthetics of
its dancehall culture, Patterson creates a window onto working - class Jamaican society.»
In a nearby gallery, Jamaican artist Ebony G. Patterson's paintings suggest ethereal androgynous figures in vortices of glitter and paint in what a wall text calls her «exploration of Jamaican
dancehall culture as a space for... masquerading and gender fluidity» in the «laissez - faire spirit of Carnival.»
Patterson's current works explore the constructions of the masculine within popular cultural using the Jamaican
dancehall culture as platform to launch the discussion.
In her work, the Jamaica - born mixed - media artist Ebony G. Patterson recontextualizes gender norms and explores Jamaican
dancehall culture.
His felt work «Back to Life» draws upon motifs found in Phoebe Phillo's collection for Chloé including objects from
dancehall culture, Vogue branding and the iconic Eiffel Tower.
Not exact matches
Meant to present a complex vision of masculinity, the installation is a meditation on
dancehall fashion and
culture, regarded as a celebration of the disenfranchised in postcolonial Jamaica.
The writer Sarah Lowndes, whose book Social Sculpture is a chronicle of Glasgow's rise to prominence, has linked the city's artistic
culture to its notable night life — she draws a line from postwar
dancehalls to rave
culture to the thriving independent music scene.
The Texas town saw the opening of The World According to New Orleans at Ballroom Marfa (a center for contemporary art and
culture housed in an old 1927
dancehall).