“I understand oppression exists,” she says. “It was incredibly compelling,” she says.įrazier, for her parts, doesn’t only want to reveal the untold history of her people she wants to make their futures better. LaBouff noted that in curating the exhibition, she was moved by the way that Frazier, and so many of the other artists involved in WCQN, responded to the death of George Floyd first as mothers.
Perhaps most compelling of all the quilts is Madonna And Child: The Embrace (2019), which shows a mother, adorned with a flower in her hair, cradling the face of a young black boy. We hope this will be one of the key achievements of the Summit, where leaders should be. “We still wrestle in our nation with the right to peaceful co-existence while our neighborhoods are disturbed with petri-dish analysis,” says Frazier in a text that accompanies the exhibition. On Freedom from Fear (peace and security) in In Larger Freedom. In Who Is In My Neighborhood (2018), a boy looks over his shoulder while behind him, an array of targets and petri dishes flow from his shoulder. In I Matter (2016), a young black man’s face hoovers in the center of a deep red target. The beauty of the quilts occasionally belie the piercing nature of some of the subject matter. L’Merchie Frazier, American, "I MATTER," 2016 Nylon, synthetic tape and thinsulate fabrics, 40 × 30.
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