The Unknown One
Jasmine Murrell

Opening Reception: February 5, 2020 , 6 – 8 pm
Exhibition Dates: February 5 – March 7, 2020
In Conversation: Jasmine Murrell and Curator/Executive Director of No Longer Empty, Christine Licata | Thursday, February 20th, 2020 | 6-8pm

In The Unknown One (Reimagining the singular as a collection of One), Jasmine Murrell examines western ideologies through a panoramic lens of ancient customs and philosophy. Her work engages an expansive dialogues on power, value, and the singular. Utilizing photography, video, printmaking, and sculpture, she challenges accepted hierarchies and belief systems that are the framework of race, gender, class, and culture in America. Her work employs an eclectic range of aesthetic and theoretical influences including feminism and post colonialism, Indigenous and Afro-Futurism, Négritude, magic realism, science fiction, and musical pieces such as those by visionary jazz composer Sun Ra.

Baxter St at the Camera Club of New York is pleased to present The Unknown One (Reimagining the singular as a collection of One) by 2019 Workspace Resident Jasmine Murrell, opening February 5, 2020, and on view through March 7, 2020. This exhibition, comprised of new photographic and photo-sculptural works, explores representation, oral tradition, and the expression of strength through portraiture.

In The Unknown One (Reimaging the singular as a collection of One) artist Jasmine Murrell pays homage to the oldest members of her community. Murrell reframes the traditional portrait using video, photography, printmaking, and sculpture, to present a more inclusive alternative to the classic/postmodern nude figure in contemporary art. Murrell draws from an eclectic range of aesthetic and theoretical influences ranging from abstraction, feminism, post-colonialism, indigenous artisans, Afro-Futurism, Négritude, magic realism, Dadaism, the Detroit avant garde theater, science fiction, and musical pieces such as those by visionary jazz composer Sun Ra.

The exhibition features wall mounted sculptures created through layering photographs of the female body (placed on a variety of substrates including canvas, paper, wood, and fabric) with found objects, and marking their surfaces with silkscreen and painting. The subjects of the photographs are women adorned in headdresses sculpted by Murrell. She describes the headdress as a method of psychological transformation, and the women as being connected through a larger consciousness in their ability to work against diversity.

Jasmine Murrell transforms the female body as something beyond its surface. Her bodies are marked with time, experience, story, and beauty. She asks her audience to assimilate the disparate parts she has presented, and the result is a singular goddess that engages various conversations around the body, expressions of power, and the importance of oral traditions in art.