By Cathy Miller

In honor of Black History Month, 5 East Art Gallery in Washington Borough is hosting an exhibit called “Black History: Pride and Perseverance” featuring the work of local artist Roberta Rose.

Three specific pieces represent distinctly different experiences, although there are myriad works to explore. Roberta explained, “I wanted to mix facts with an artistic feel.” She didn’t want the show to be oppressive, rather something more edifying – a portrayal of “pride and perseverance.”

Prominent in this exhibit is an aged array of photographs of African-Americans. Roberta clarified, “I don’t try to pretend I can understand a race and a culture that’s been through so much. When I began collecting these photographs, I felt a sadness seeing them at flea markets, realizing that years ago people paid good money to have them done. Families cherished them. You can’t help but wonder who decided they weren’t important enough to keep? These old pictures link the past to the present. I use my artistic license to give these people from the past a new life.”

It’s in the Details:

“In Memory of Elizabeth Keckley” (27”x33”): Elizabeth Keckley was a former slave who became a successful seamstress, civil activist, and author in Washington, DC. She was best known as the dressmaker and confidant of First Lady Mary Todd Lincoln. Roberta stated, “Best case scenario, the photo in this piece is really Elizabeth. If not it’s someone wearing clothes that Elizabeth made (same collar, gloves, and Civil War-era long dress). Either way, it’s very exciting. I even incorporated her story into the little book within this work.”

“The Trinity of Scrolls”: This unique piece was inspired by the 1991 film “Daughters of the Dust.” Written, directed and produced by Julie Dash, it’s the first feature film directed by an African-American woman, distributed theatrically in the United States. Set in 1902, it’s the story of three generations of Gullah women in the Peazant family on Saint Helena Island (off Georgia) as they prepare to migrate off the island, out of the Southern United States, and into the North. Roberta explained, “The photos on these three scrolls represent people, mainly women, from that time. I don’t think any of the photos are true Gullah people from that Island, but they are authentic for the early 1900s. These are people who would have been involved in or knew of the migration.”

“The Expectation” (16”x20”): This work recognizes the first well-known African-American photographer, James Conway Farley. In 1895, he opened his own photography studio in Richmond, Virginia, where his services were in high demand by both white and African-American clients. Roberta noted, “It was a major event for these very wealthy, well-dressed patrons, to have their portraits done. The photo used in this piece was most likely taken in Farley’s studio.”

Info About The Artist
Roberta Rose lives in Washington with her husband Bill and their two dogs, Jeter (a French Artisian medium-size Bassett) and Quinny (a Beagle Coonhound mix), both rescues. She grew up in Elizabeth, a melting pot of cultures and traditions. “I’ve been in Washington for almost 20 years now. There’s been a lot of changes in town through the years, but it’s a good place.”

Roberta’s mother noticed her early interest in art. “I was nine years old when my mother bought me my first oil paint set – tubes of paint, brushes and little canvasses.” Roberta continued, “She recognized I was already advanced and knew I needed a bigger challenge.”

That interest was nurtured by her teachers in both grade and high school. She recalled, “I had a wonderful art teacher in middle school. He brought us to the Museum of Modern Art, which was amazing. That’s where I first saw Rauschenberg, Dali, the Impressionists.” Robert Rauschenberg, whom she calls “the King of Collage,” became a big inspiration for her.

Roberta studied fine arts at Kean University part-time for about ten years, and also took art classes at the Art Students League of New York in Manhattan. “I studied different styles and mediums at Kean because you needed those basics,” she said, “but I always liked mixed media. I studied with an instructor in New York who specifically taught mixed media.” She delved into those techniques – her main interest was, and remains, mixed media, collage and abstracts.

The Technique
The photographs seen in Roberta’s work are all vintage, from her private collection of over 2,000. Sometimes they come from flea markets, but mostly they’re purchased from private collectors.

Beyond old photos, there are other unexpected items found in her art. “Anytime I go to a flea market or an antique store I see all kinds of things. Hardware is highly collectible right now, but I’ve been collecting it for years. It adds a wonderful element and rustic look to the piece.”

In this body of work Roberta utilizes a technique called “encaustic” – collaged artwork with many coatings of beeswax. “It’s a transfer technique where you make a copy of the actual photograph and transfer that onto a flat canvas or other base.” She doesn’t want to compromise her vintage photos so she uses assorted techniques to reproduce them, including a laser printer.

Describing the process, Roberta said, “After it’s transferred I add elements of acrylic paint and pieces of napkins or tissue paper before layering the wax. If you take something like rice paper or napkins and place it in hot wax it immediately melts right in and intensifies the color. The beauty of the wax is if you want that color saturation, it stays. If it’s too intense, you can lighten it with colored encaustic wax, making it more translucent or more ethereal.

“I apply wax evenly for the first few layers to insure good coverage, manipulating it as I go along. You don’t want it to be uneven when you’re done, so you even it out with a little iron.” Is there ever too much wax? “When you brush on the layers of wax, they’re thick. If it’s too thick you can scrape some off as it cools until the image pops to where you want it. Each layer of wax softens the image. Using a little hot iron, you keep fusing it to manipulate it. Often I’ll add elements as I’m building it up to give it more depth.”

Roberta warns buyers of her art not to bring it out in freezing cold weather because it will crack. Don’t place it sunlight or in the trunk of your car, it could melt. She assures patrons, “I could repair it if necessary.”

The Work Ethic And The Muse
“I work best in the morning – before the day goes sideways,” Roberta laughed. She works almost every day on her art, unless there’s another obligation, and she admits to slowing down a bit in July to enjoy the summer. “I used to work fewer days and longer hours until I learned it’s better to work in smaller chunks of time. Ideas flow better if you do a little every day. If you wait a week, you might forget what you were planning to do. If I get stuck on a piece, I’ll move through my supplies in the studio. That’s when I’ll get an idea. The muse doesn’t care if it’s Sunday and it’s your only day off!”

Widely recognized for her style of transfer art, Roberta’s award-winning work has been featured in many juried shows and galleries. Her new exhibit, “Black History: Pride and Perseverance,” is currently on display through the end of March at 5 East Art Gallery, inside Kathy’s Kove & Kafé, 5 E. Washington Avenue, Washington. Phone: 908-689-6878.

References
https://www.loc.gov/exhibits/civil-war-in-america/biographies/elizabeth-keckley.html
https://www.blackpast.org/african-american-history/keckley-elizabeth-hobbs-1818-1907/
https://en.wikipedia.org/wiki/Elizabeth_Keckley
https://en.wikipedia.org/wiki/Daughters_of_the_Dust
https://en.wikipedia.org/wiki/Encaustic_painting
http://www.insidewarren.com/roberta-roses-art-takes-you-places-near-and-far/