Telling the Story of a Black Man Saved Him | Way of life
Roxbury, Connecticut – Visual artist and designer Ron Norsworthy was able to easily blend in with the ideals of popular culture heroes. He is an indefatigable man who invents himself. He studied architecture at Princeton, worked as a designer at Michael Graves for a year, was laid off and then turned into an art director and production designer for the famous hip-hop group (Missy Elliott, Basta) in the 1990s. .. Nursery Rhymes and Salt-N-Pepper).
At first, the art direction job was exciting, Norsworthy said. [where] I noticed I was insane. “
In the early 2000s, he founded his own interdisciplinary design company, The Norsworthy Fund, and in 2011 was one of the first African-American men to sell his own line at QVC under the self-developed NHOME brand. I have become a person. Over the past 20 years he has recognized himself as an artist.
Through his expedition, Norsworthy said in an interview with the home that he understood his main job to be “creating places that are centered on identity.” Essentially, he creates works of art and installations in which different parts of his identity coexist in harmony. It is very important to Norsworthy that everyone is welcome. Obviously, not only the alleged part, but also the strange black man, but also the part that calms down and escapes is welcome.
In 2004, he approached to achieve it.
He borrowed familiar architectural languages and props to build a work called “Harlem Restoration Tower,” a partial performance and a partial installation. It is a workshop-museum.
Most recently, Norsworthy held two solo exhibitions of his work at the same time at the Long Gallery Harlem and the Project for Empty Space in Newark, NJ. The work in the Long Gallery’s “Inner Dialogue” exhibition was a beautifully rendered tone, a mound of round fabric printed with intricately colored images of decorative vases floating against a decorative background. The vase was representative of him – a person who often felt objective.
“I got to tell you all the ways I was treated like things,” Norsworthy said, “considering myself a potential bearer of this trophy, something. It was easy,” he said. he adds.
“I remember that I was always called a” brother from another planet. ” [professional looking] The clothes I wore as a set. He says these two exhibitions of his work were the first time he could explore the “living experience of alienation.”
He began to create art for himself that helped him understand who he was, only when he stopped reinventing himself to adapt to a changing professional context. was.
Norsworthy installed a wallpaper seating arrangement that repeats the word “Blackity” and a display case with ceramic bowls and potted candles in a corner of “Interior Dialogue.” The bowl represents a popular prototype in black English (paper documents provide translation keys). The terms include candle, barbarian, ratchet (or miserable), shadow, snatch, oppression, thirst, and extras. Hurry Him, and to catch up, he became addition..
This initiative started at an early age. Born to immigrant parents in South Bend, Indiana, the eldest son of three, Noseworthy adapted to an ever-changing environment as his father rose through the ranks of the John Deere company in the early 1970s. learned that. His mother Sonya and younger brothers Ryan and Courtney moved home based on where the business needed to be for Ronald’s seniors. By the time Norsworthy was in sixth grade, he said he had attended five primary schools and had not had the time or space to connect with people outside his family. When he was 13, they moved to Crystal Lake, a Chicago suburb. There, as far as the eye could see, everyone was white. After investigating the 1980 census, he learned that his family was the only documented black family in the entire county. “I felt like someone else because I had a lot of myself and I was surrounded by white,” he said. “I had this inner shame about my queen.” The answer to shame has been to become a perfectionist and “exceedingly superior in everything.”
This tireless effort made him an undergraduate student at Princeton University. However, the problem of cognition and acceptance has not gone away. “It wasn’t just my queens and my race, but now my class, my upbringing and where my family spent the summer, and my people.”
He depicts me in a college cafeteria with a tray of food and repeats the call scene, being watched by both a black classmate’s table and a white student attending the table. .. He always feels like he made the wrong choice. Probably because there was no table at the time to accommodate his crossed identities. As Norsworthy puts it, “If I wasn’t dealing with the anti-blacks of the whites, I was dealing with the aversion of homosexuals towards blacks. “
Norsworthy re-enacted a version of his ordeal in the installation “Reparation Tower, Harlem”, which consisted of the mock sales offices of a fictional luxury tower in Harlem. The office has two entrances, one marked “white only” and the other marked “colored entrance”, which attendees choose to show to other visitors through the video monitor. it was done. The implied suggestion here is that visitors can make their own choices, but they will be judged for them. The monitored and socially ranked experiment replicated the super-visibility felt by Norsworthy across his multiple professions. As for how the culture views him and his racial identity, he described the colorful entrance leading to a plexiglass cage.
Norsworthy began collaborating with his partner David Anthone in Roxbury, Connecticut in 2016 to further explore racial alienation. Under the name of DARNstudio, they make a series of large pieces which he calls “quilts”. It consists of a custom made keepsake matchbox (each a small cardboard monument), tied with a thread, and a pattern that produces a large text.
Their work “CAKEwalk, From Another Country Quilt Cycle” (2020) is part of the exhibition “Trying to Make Sense of It: 9/11, Loss, and Memorial Quilts” in Lincoln, Nebraska until October 16. .. International Quilting Museum. According to the museum’s description, “CAKEwalk” takes its name from “a competition in which a enslaved black man performed an exaggerated dance that satirized the owner of a white farmhouse, danced, and satirized social customs. This work represents Norsworthy’s feeling that he still has to do it. That is to say, to carry out the blackness, the queen, the masculinity or the belonging to the bourgeoisie. Today, the couple say the quilts “make it possible to remember and commemorate the real lost life” simply because they couldn’t or couldn’t do it in a way that seemed acceptable. to augment.
The matchbook covers a display logo that represents the city or specific location where the black man was killed by a law enforcement officer, with the victim’s initials and the date of death at the back. The resulting skein works on several levels at once: visually colorful and engaging mosaics, formally innovative versions of the quilt, and the act of remembering those lost lives is easy. Swallow some kind of Sottoboth flame that warns of a bank fire that can scatter sparks.
During the 2021 exhibit at the Project for Empty Space, he said, “Lies about me. Noseworthy allowed us to explore a wider range of possibilities for the history of modern black life. Norsworthy. Started with images of blacks selected from famous paintings, films and architectural historic sites, digitally recontextualized the figures and invented new stories. He produced inkjet prints of these manipulated images. I created a 3D relief that hangs in a frame. Featuring the image of two women dancing together, Stepford (Narrative 4) covers all areas of gender identity, sexual orientation and socio-economy. He is ready to express his ambition to create a place to celebrate the existence of blacks.
At 55, Norsworthy creates works of art that may have come to terms with his fate, fearing the young man standing in the cafeteria with the tray. He organizes his own meals and offers a nutritious feast. “Here,” he said, gesturing to a place next to him. “You can sit with me. I have this space for you.