Homework is celebrating its second anniversary with a complete programming this week. The nomadic art gallery is hosting a pop-up exhibition in Little River and an immersive booth at NADA Miami during Miami Art Week. Both events will delve into the rich and vibrant cultural identity of the Caribbean. At NADA, you’ll be able to experience the incredible works of Julián Chams and our our interviewee, Afro-Dominican interdisciplinary artist and scholar Patricia Encarnación.

Patricia Encarnación explores the effects of colonialism on Afro-diasporic communities in the Caribbean and Latin America. Through her work, Encarnación reimagines sights and experiences enmeshed in her -and many others- upbringing, offering a compelling Macrovision of a wider Caribbean identity to spark intellectual debates and analysis.

Encarnación has participated in prestigious residencies at Smack Mellon, MuseumsQuartier Vienna, and Kovent Catalonia. Encarnación’s art has been showcased at notable events like Documenta 15th and Tribeca Festival.

Armed with an AAS degree in Illustration and Fine Arts from Altos de Chavon and a BFA from Parsons, Encarnación infuses her artistic journey with a distinctive vision. With a focus on Caribbean aesthetics and the dismantling of societal norms, she fearlessly challenges preconceived notions of identity. From her base in The Bronx, Encarnación fearlessly explores various mediums like ceramics, photography, and video, aiming to break free from imposed narratives and cultivate a profound appreciation for the Caribbean experience.

In this exclusive interview, we’ll explore Encarnación’s unique artistic vision, her exploration of Caribbean aesthetics, and her fearless challenge of societal norms. What makes her tick? What sets her art apart?

When thinking of artists, we tend to see them go through discernable periods. Where are you as an artist right now? What tends to characterize your art at the moment?

I would perceive myself as an artist embracing a dissident-centric approach. This approach challenges established norms and historical biases that have marginalized specific communities, relegating their contributions to the peripheries of history and culture.

At this moment, my art would aim to amplify the narratives of my communities, such as the Caribbean, insular, and Abya Yala. It would prioritize the agency of these groups by showcasing their pluricultural perspectives that have often been disregarded or erased.

My art would serve as a platform for advocacy, highlighting the capability of these communities to create meaningful culture and knowledge. By embracing this dissident-centric approach, I aim to contribute to a more inclusive and diverse artistic landscape, ensuring that these narratives are acknowledged and celebrated in the broader context of human history and culture.

From the material aspect, what feels most important to you, if there is any texture or color?

As an interdisciplinary artist, I place emphasis on the research and concepts behind my work, which guides the material choices I make. However, within the realm of materials, I find that the interplay between texture and color holds considerable importance, especially within my preferred medium of ceramics.

Ceramics is a multifaceted medium, where texture and color intertwine to create compelling pieces. Texture in ceramics can be dynamic, adding depth, tactility, and nuance to the artwork. It allows me to experiment with various techniques, such as carving, imprinting, or layering, which adds a unique tactile dimension to the pieces.

Nevertheless, I find the potential of color within ceramics, particularly through the glazing process, to be thrilling. The glazing process is not only about applying colors but also involves an element of unpredictability and discovery. Environmental factors, firing temperatures, and the chemical composition of glazes can lead to unexpected and beautiful outcomes, resulting in “happy accidents.”

Are there any specific techniques or mediums that you prefer to work with?

As mentioned, I am an interdisciplinary artist focused on the research and concepts behind my work, but ultimately, I find myself drawn to ceramics as my favorite medium. 

I am particularly interested in the multifaceted nature of ceramics and how it allows me to explore object creation through various techniques. It’s like contemporary alchemia, creating gold with a material you find in nature.

Tell us a bit about what it means for you to be one of the highlighted artists of the ‘homework’ gallery.

Being one of the highlighted artists at the ‘homework’ gallery holds significance to me. It’s more than just a showcase; it represents a living embodiment of community building and support. Through our initial meeting, a relationship was cultivated, fostering collaboration and mutual support. Spaces like the ‘homework’ gallery are important because they prioritize the amplification of diverse artistic voices. They actively challenge traditional norms within the art world, offering different curatorial approaches that expand the representation of artists within the industry. Supporting such spaces becomes crucial as they strive to make an impactful mark in the art world, demonstrating that there are numerous avenues for curating and broadening the spectrum of artists and artworks that deserve recognition and appreciation.

A very important aspect of your work is related to the impact of colonization in the Caribbean. What sort of conversations do you hope your work can inspire or stimulate with this focus?

The focus of my work on the impact of colonization in the Caribbean is intended to provoke crucial conversations on various fronts. In an international context, I aim for my art to serve as a window into understanding how everyday lifestyles and the perception of privilege can significantly influence global relationships. I aspire to challenge conventional ideas about borders, tourism, and extremism urging people to reconsider their political implications and fostering discussions on transcending these boundaries.

Moreover, within an international setting, I hope my work sparks discussions about how individuals from the global south navigate their circumstances. By shedding light on Caribbean experiences, I aim to amplify the voices of my people, emphasizing their visibility and significance. My art forefronts quotidian elements of our lives, showcasing their potential for anti-colonial practices, fostering self-love, and reinforcing our collective identity.

Ultimately, my goal is twofold: internationally, to encourage reflections on global relationships and the impact of privilege, and within the Caribbean community, to empower individuals, celebrate our identity, and foster anti-colonial practices through visibility and self-assertion.

It’s obviously impossible to play favorites when it comes to individual pieces, but is there a particular work of yours you feel proudest of?

I would not have a particular piece, but I do have a series. I take immense pride in the series called Tropical Limerence. It’s a community-based exploration encompassing ceramics and video art, delving into how minority groups and Global South communities perceive themselves in relation to the Global North as “limerent subjects.” This project deeply engages with the experiences of BIPOC, female-identified, and queer individuals through the lens of Limerence—a concept encapsulating obsession, fetishism, and the pursuit of reciprocation stemming from misunderstood love.

Tropical Limerence serves as a platform to redefine this term, applying it to social behaviors between regions and proposing that Limerence underlies many global injustices. The series involves video-recorded conversations and performances centered around the concept of Limerence, culminating in the creation of ceramic sculptures. It’s not just a singular piece but a cohesive series that embodies a profound exploration of social dynamics and human relationships within the global context.

What about Julian’s? Is there a piece in particular of his that spoke to you the most?

Julian’s artistic prowess resonates with me, especially his natural tapestry pieces. What struck me the most was how he documents the tropical landscapes across the Caribbean in photography and skillfully weaves them together into an innovative tapestry format using natural fabrics. It’s a creation that feels both unique and poetic.

His use of natural fibers, particularly jute (known as Golden Fibre) and Guata, which possess a golden, silky shine, creates a mesmerizing installation. These tapestries showcase his artistic skill and engage in a profound dialogue with natural landscapes, unifying diverse elements through this natural medium.

Beyond his tapestries, Julian’s photography stands out for its ability to capture the spectrum from micro to macro perspectives of natural settings. His photographic work inspires and beckons one to immerse and exist within these enchanting spaces he captures.

Visit homework’s booth at NADA from December 5th – 9th.
Ice Palace Studios – 1400 N Miami Ave, Miami, FL 33136

STAY IN TOUCH WITH PATRICIA  INSTAGRAM – WEBSITE