David Alekhuogie’s Metaphor for Human Struggle

By Camille Wong

Installation view,  Gravity , Los Angeles Municipal Art Gallery, February 14 – April 14, 2019. Photo by Jeff McLane. Photo courtesy of the Los Angeles Municipal Art Gallery.

Installation view, Gravity, Los Angeles Municipal Art Gallery, February 14 – April 14, 2019. Photo by Jeff McLane. Photo courtesy of the Los Angeles Municipal Art Gallery.

Three wooden backboards hang on the tallest wall in the Los Angeles Municipal Art Gallery. The tallest of the three hangs ten feet from the ground at regulation height while the other two rest directly below each other. Leaping from the ground, one is able to defy gravity for a few short seconds, before inevitably landing back onto hard earth. This metaphor is David Alekhuogie’s “Gravity” which spans media ranging from cyanotype textiles to cement-casted torsos. Gravity describes our desire to strive and yet our inability to overcome— a struggle for many people in this country.

These backboards are part of a series titled, GOAT act. 1 pt. 1-3, in which Alekhuogie uses mark-marking to physically demonstrate the act of reaching and falling. Some backboards look more kept than others, while one is simply a wooden board with a red border spray-painted around the edges. The backboards are hung at standard height— a distance just above the limit the artist could jump and reach. Inked handprints cover the lower half of the board charting the success and failure of each jump. These markings suggests how repetition and continual strife are taxing and relentless. Futility resounds as we realize that none of the boards are fixed with nets— a feat with no apparent end to success. However, for those few moments in the air, we feel that we are actually in control.

The feeling of gravity is employed subtly throughout the show. Basketballs are propped against the walls by wooden frames in the GOAT series. Male Abercrombie torsos dangle in the air by rope exposing the hardware in Pull Up g,g,g. Makeshift wooden chairs nod at improvisational step stools in Support 1 and Support 2. Struggle and the perennial attempt to overcome it is as omnipresent as gravity.

Underlying this show are themes of athleticism and sport. Perhaps a metaphor to describe the continual training and persistence required to achieve in this country, or maybe a not-so-subtle reference to the dominance of black representation in sports (despite the actual figures). Both suggest our society’s relationship between sports and black culture. While there have been trite attempts to defend the overrepresentation, all seem too primitive and reductive. By lumping a whole race as biologically brawny, the justification may seem like a praise, but it’s really just a PC cloak of racism.  

Perhaps the most critically successful series is Untitled Landscape which upends the torsos of sagging pants into a bold landscape. This photographic series was also on display at Commonwealth and Council in a show with the same namesake as Tupac’s “To Live In and Die in L.A.” The reference says it all-- sagging pants allude to hip hop culture as well as the criticism against it. Even former President Obama once openly criticized the trend stating that “brothers should pull up their pants.” By reinterpreting black male torsos, he seeks to redefine the stereotype of sagging pants, suggesting the harmful categorization of people based on their skin color.

In contrast with these photographic torsos are cement-casted torsos of extremely athletic male mannequins. Unlike the Untitled Landscape series, these torsos are completely nude. It’s reminiscent of the handsome Greek statues archived in museums and widely seen as the pinnacle of art and civilization. The contrast draws a distinction between the two raising the question of an “acceptable” nude. Why are certain nudes and torsos considered palpable and tasteful while others need to be censored and explained? Furthermore, these cement statues sit atop blue bandanas, a metaphoric double entendre. However, if you look closely, you’ll notice that they’re not actually bandanas. Cousin 1 and Cousin 2 is a play on the blue bandana— a uniform used by the Crips. However, these bandanas are actually cyanotype canvases that involve a photographic process of using an image to create copy of the original. The concept is similar to Magritte’s The Treachery of Images (c’est ne pas une pipe). C’est ne pas une bandana. The image is not the thing, the bandana is not the gang. These toros house funerary flowers transforming them into urns to suggest a lament for black bodies in this country. By removing these signifiers out of the context of the streets and placing them in a gallery setting, he demonstrates how arbitrary some of these prejudices are.

A powerful show that comments on America as a whole, this exhibition touches on a larger theme of racial prejudice in America whereby success is not always equitable. While we can try as hard as we can to succeed, underlying systems of oppression are in place to eliminate certain people from the game. The overarching theme of this show, and of this country, is the harmful representation of people and how that inhibits certain peoples from success. This exhibition questions why the highest peak of success for some Americans can be measured ten feet from the ground.


 
Installation view,  Gravity , Los Angeles Municipal Art Gallery, February 14 – April 14, 2019. Photo by Jeff McLane. Photo courtesy of the Los Angeles Municipal Art Gallery.

Installation view, Gravity, Los Angeles Municipal Art Gallery, February 14 – April 14, 2019. Photo by Jeff McLane. Photo courtesy of the Los Angeles Municipal Art Gallery.

 
Camille Wong