Adee Roberson weaves sonic and familial archives into her paintings and performances. Drawing from the graphics and aesthetics of Afro-Caribbean diaspora, and the energies embedded within place, landscape and music, Adee creates installations that transmute energies from past into present playing into what she calls the expensiveness of blackness.
I am Adee Roberson, I am a visual artist, I have a multi disciplinary practice, I work with paintings, sculpture, video, found objects, archival footage and archival photos. The installation feels very sculptural in the sense that it's bringing all of my practices together, so even sound in the videos and printmaking, painting. I specifically wanted the colors to be in it to ressemble, just kind of, honestly, yams.
A yam, it's nourishing, its like a all entity that's like you can only it that and have every vitamin and every, you know, it's just really, feels very holistic.
You know, it's a vegetable that comes from Africa.
Just being part of African Diaspora and thinking a lot about spirit, thinking a lot about ancestry, thinking a lot about cosmology, specifically living in the states and not knowing where my descendants are from, so really having to kind of create some of my own narratives through, like, channeling and I think that
Adee Roberson’s neon paintings and archival images visually and emotionally fill space through pattern, scale, and movement. Movement is a central theme in Roberson’s work. She has lived many places, practices bodywork, and channels the African Diaspora – communities descended from the mass dispersion of peoples during the slave trade. The paintings and videos are markings of past and present events, expanded into space. Sit and find a place here to reflect, and feel the vibrations of color and ambient sounds.
Fabric as an art form has a long legacy, and canvas has been a rich site for experimentation – from 19th century pictorial quilts by Harriet Powers, to abstract expressionists soaking unprimed material to find new depths of color in the 1950s. Sam Gilliam’s draped canvases of the 1960s abandoned the frame altogether. With a pliable, three-dimensional approach to the picture plane, artists can enlarge a painting’s presence, and underscore their physical role in the creative process.
Adee Roberson has exhibited and performed at numerous venues including, Portland Institute of Contemporary Art, Yerba Buena Center for the Arts, Antenna Gallery, Project Row Houses, Charlie James Gallery, Contemporary Art Center New Orleans, MOCA Los Angeles, and Art Gallery of Windsor, Ontario. She is based in Los Angeles, California.