Atlanta, Georgia Local News
Derek Fordjour: A homecoming drawn in paint
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“I was broke for a long time. My mother comes to my lectures to collect on the money I owe her,” Morehouse graduate and multidisciplinary artist Derek Fordjour, 50, jokingly told a young artist inquiring on how she can escape the stereotype of the broke artist.
Fordjour, 50, Morehouse Class of 2001, recently returned to his alma mater to present for the annual distinguished lecture series, which serves to provide students and faculty with opportunities to learn from leading figures in art history, curatorial studies, and related fields.
The event, hosted by the Atlanta University Center Art History + Curatorial Studies Collective, took place on Jan. 31 at the Shirley Massey Executive Conference Center at Morehouse College.
“I was an artist my whole life. I couldn’t really do many other things and I just never stopped, “ Fordjour told The Atlanta Voice.
During the lecture, Fordjour shared his journey from financial struggles to artistic success. That journey included quipping about his mother attending his lectures to collect on past debts.
Fordjour showcased a retrospective of his works throughout the lecture, delving into their histories and offering insights into his personal life as a Morehouse student and professional artist.
Fordjour’s artistic journey aligns with his broader commitment to connect with audiences inside and outside traditional art venues. Exhibited through different mediums, showcased in paintings, sculptures, and other installations.
A common theme in Fordjour’s work is mobility.
Fordjour defines the word as, “We as Black folk wanna look like we are going places”. Further citing that when Black people get successful, it is equally important to flaunt that success. Showcasing a picture of his piece, Flock , 2023. Fordjour designed this piece to show as a “bouquet” of wheels in motion being pedaled with legs that are inverted and caught off at the thigh.
“We did not become artists to make money, we became artists to make art,” said Fordjour.
In a reflective moment during his lecture Fordjour, expanded on the theme of “the significance of success” within the context of black identity sharing a personal anecdote about his own family’s expectations, such as proceeding to church which Fordjour humorously recounted his mother’s insistence on a polished appearance, narrating how she would admonish him not to “come around here wearing no shoes” and emphasized the importance of looking accomplished.
Highlighted the unique condition within Black culture, where success is not only an internal achievement but also an external presentation that carries cultural weight, “ I have a brother that’s in the report for America and he’s like, “man, I’m driving this BMW and my counterpart drives a minivan’,” Fordjour told. This exploration of the performative aspect of success within black communities represents Fordjour’s broader artistic narrative, echoing the complexities and entertaining aspects inherent in black culture, Fordjour cited.
Fordjour, recognized for his contributions to the art world, works across various mediums such as collage, video/film, sculpture, and painting. His artistic prowess has earned him accolades, including being named the inaugural artist for the Building Art Series on the façade of MOCA Grand Avenue in Los Angeles in March 2023 and has been featured in prestigious publications such as The New York Times and Vanity Fair.
During the lecture, Derek Fordjour shared a contemplative perspective on his artistic process, revealing his ongoing exploration and love for the concept of staging live shows in galleries. Speaking on one of his newest shows, SCORE, which was shown at the Petzel Gallery in New York City from November 10 – December 22, 2023. Fordjour expressed his fascination with the idea that, as artists, they engage in the creation of illusion through paintings, constructing a visual world that exists within the realm of perception rather than tangible space. Fordjour embraced the challenge of translating this concept into live performances that are ephemeral, existing solely within the context of the gallery show.
Fordjour drew parallels between the ephemeral nature of his live shows and the timeless appreciation for a live performance and the history created between the art and its viewer.
“I’m saying that coming to one of my shows while they’re alive, I believe it should be a significant experience,” Fordjour said, proclaiming his belief that attending one of his live shows should be a profound and noteworthy experience.
“I really love the idea of putting on a live show for no cost in a gallery. I like the idea of putting on performances that only live in the place of the show,” Fordjour continued.
In an introspective segment of the lecture, Fordjour opened up about the transformative experience of visiting Italy for the first time at the age of 35. Describing the journey as truly amazing, a significant moment that added depth to his perspective.
With a wealth of ideas at his disposal, Fordjour expressed his passion for working within a community, emphasizing that this collaborative engagement serves as a powerful antidote to boredom in his artistic practice.
“I like different points of entry into my work for people,” he said. “I don’t want to meet you on the same floor, at the same time every day, in the same way, with the same gaze on. It’s nice to have a practice that’s dynamic that’s reflective of all the sources that I’m taking in as well. I just try to be very honest with what I’m interested in and curious about,” Fordjour said.
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Noah Washington
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