Documentation as a Form of Existence with Joy Yamusangie
Words by Ashley Scott | Photography by Paul Phung
Evocative and engrossing art should make you think, talk, and dive deeper into a work that’s captured your attention. Joy Yamusangie's acutely autobiographical work combines self-portraits with brilliant colors presenting a unique salute of self-appreciation, it invites you to join in on their conversation. “Through my work, I try to tell my own story, document memories, and sometimes dream up fictional stories and utopias. It is through making work about myself that I naturally explore what it is to be me, to be Black and Trans.” Placing themself at the forefront of their work is arguably what makes the bold strokes and often large format pieces such striking pieces. Faces appear as a common motif, adding to the sense that we’re almost joining their diary with a look inside something more than the face value of the images.
Working between multiple mediums, Yamusangie’s jack-of-all-trades approach still leads to a singularly unmistakable piece of their world. Their studio, a place they tell us, has allowed them to “scale up my work and be a little messier, have some separation from my home time and to consider ‘rest’ as part of the process,” comes with a wheely storage trolly that follows around the studio with all their essentials. “It’s full of tape, Tombow dual markers with the brush on the end, and all my paint brushes. My favorite mediums are acrylic paint on canvas or paper and lino printing.” Having worked through many mediums, echoing elements of poetry, typography, ceramics, canvas, and even film, their work creates a broad spectrum of emotions and windows into Yamusangie’s world. The pieces often make the spectator feel as though they’re almost intruding on private thoughts and ideas. “I see it as a window into this world, my world and perspective at a specific moment so I see how it could be interpreted as something mid-thought.” Subjects appear mid-conversation, evoking a story beyond Yamusangie’s already bold colour, expressioned mark making, and figurative shapes. These moments in time can evoke perspectives other than what comes at first viewing. “Sometimes the feeling of the painting changes, so when I add text that communicates the mood of the painting, it’s the final stage.”
A flush of red makes a prominent appearance in many recent works alongside deep black panels and shapes. When asked if there are connections to certain colours at given moments, Yamusangie states that above all, mood dictates the works direction, though elements of primary colour will consistently draw them in. “I always find myself circling back round to primary colours and playing with different shades of them, it’s the boldness of these colours and how easily they pair with everything that makes me drawn to them.”
When discussing whether their work feels like a response or fight back to world ideas and views that affect, spark or perhaps confront them, Yamusangie’s response is as clear-eyed and as bold as their pieces. “It's not so much in response to something, for me, it feels more declarative. There isn’t room for debate in my work as I simply just exist, it doesn’t feel like a fight but a documentation of the fact that I’m real, I make this work for myself.