African Justice.

Should art be political?
No.

Can art be political?
Yes.

How can art and politics fit together?
As propaganda (from Latin, to propogate)... by growing meaning, where the message is all important--message without argument.
As dissemination (from Latin, to seed)...by spreading information, where the message can be challenged.
As vision (from Latin, to see)...by showing ideas, where meaning works in harmony with symbols, where the message is transfused (like living blood).


Can the artist who draws the human body do so without touching body politics?
Perhaps.
But my art reaches out to touch, to paint the politics of the body, and the mind inside the physical.
Often, my art is political in two ways: it offers, through the body, a vision of the body politic, the dream that might be.

Homoerotic Museum.

Oberholster, Bravo, Simonson, McCarthy.

Andrej Koymasky and his lover, Matt Koymasky, have a big presence on the web. Andrej and Matt have an internet home about themselves and gay history. (This is in English, French and Italian). They also have The Homoerotic Museum which looks at gay art through time and space.

The Black male body does appear in this museum, but not greatly: that is the way of modern art. Though some famous paintings of the Black male form, by gay artists, do not appear in the Homoerotic museum, such as Philpot’s domestic portraits, in the UK, and Tchelitchew’s Black male study, in the USA, there are some fine examples by Bravo, McCarthy, Simonson and Oberholster. (Richard’s work, here, sadly, is the usual distasteful pornograpic view). Now, they have added 15 of my pictures, which makes me very happy, for now there is a room devoted to a Black gay artist that is all about Black male beauty. Thank you, for doing this, Andrej, and for your kind emails…and good luck with the future!

Orokie.

Double Horizon.

These words are taken from Orokie's cd rom of his art work:

Too often, yesterday, today, but not tomorrow, we have lived a double life with our private horizons concealed from the people we really love. So often our high-up has been lived on the down-low. The secrecy of it all fascinates the media-makers, not the pressures we live through and the difficulties we feel.
Too often, yesterday, we became the victims of power: were forced to live the fantasies of other men’s dreams. Too rarely, today, do we find empowerment: create an imagery that expresses our vision. Tomorrow, let us be something more than the past and enter the communities that mean the world to us.
Tomorrow, let my brothers not live through uncertainty. Permit them to come out from their closet of bushes and follow those facts that preserve their roots. AIDS is the shadow that haunts their bright blackness. Their isolation and ignorance are the wings of Izraili.

Orokie-Cezanne.

Artists sometimes like to play with traditions.

The results can often create humour, as well as shock.

This work is by Tony de Carlo who uses Mexican influences.

It shows the heterosexual world of Botticelli interpreted through a gay artist's eyes.

So, the Dance of Love becomes a Dance of Death.

This lastest painting by Orokie returns to Impressionism and Bacon.

The colour palette uses Cezanne's mediterranean blues.

The mercury figure dances in with tea and milk (ah, a typical Orokie joke!) as if he is a Matisse dancer.

And the two figures on the bed echo Bacon's style rather than any particular sexual painting (such as Two Figures, 1953).

The result is a naughty combination of wit and eroticism.

Nicely, the winged helmet of Hermes appears as a comment on the flight of orgasm.

Why I painted this latest piece.

There was kind of mystery in Saint-Ex missing plane.

I liked to read Saint-Ex's spirit in the words of his book: Le Petit Prince, at French Language lessons.

I list it as my favourite book.

The piece "See the Sea" was done after reading the last news. The small planet is empty. Le Petit Prince moved to the bottom of the Mediterranean sea...

"See The Sea."

'London, Mar 17 : For decades people have been wondering whether French author Antoine de Saint-Exupery's death during World War II was caused by the enemy or suicide. The mystery has now been solved by a German fighter ace who claims to have shot him down and who, ironically, loved reading his books. Horst Rippert, 88, also admits that if he had know it was de Saint-Exupery in the plane, he would never have shot him down even though he was the enemy. "If I had known that it was him, I would never have fired." Times on line quoted him, as saying. "You can stop searching - I was the one who shot down Saint-Exupery." '

"On ne voit bien qu'avec le cœur, l'essentiel est invisible pour les yeux."

Self-portrait

Thank you to those people that sent kindest greetings to Afriboy.com.

My spirit was warmed by them.

I have tried to answer them all, the many, but some were not clear to me. If I have missed some friend out please do let me know and let me have your words so that I can send you kindness back.

Out of the many emails, one came asking me to join a Portrait Blog. I thank that person, but I did not send a portrait.

A portrait is a special thing.

It is sacred, like a name.

It holds the lake of the eyes, and the rainfall of the lips ,and the temple, which is a dome of radiance and spirit.

This is my new self-portait, It is called "I am back".

Do tell what you think.

Feel loved,

Orokie.

After the tempest.

Hello.
Hope you are all well.

I am fine.
The day is good and sunny, only our clocks went forward in the night.
We must adapt our bodies to this new local time.
Also I hope I will soon adapt myself back to normal day life.

This Sunday, I feel somehow like a sailor after big storm washed his ship of sails, compass, maps and books.
May be I will need time before I dance my spirit again in good rhythm.

Be good,
Orokie

All is well.

Dear, John Powers, Belasco, Pure Cacao Joy, Daudi, Blackstone, Eshuneutics, Sirrond, Grinder and Anonymous... thank you for your kind words on my blog. Thank you to all those others who have kept me in their thoughts and kept my heartbeat within their own. At last, I have returned home. I am in my room once more. I am able to hold pencil and paint brush in my hands again.

The Ancestors say I still am not a man of theirs and so I am able to return to my work and life as it was before. Today, I have painted myself. A portrait. It is my way of saying: welcome back!

THANK YOU AGAIN FOR YOUR CARE, Orokie.

A story of intuition.

There is a famous story about Basquiat and Warhol. In October, 1982, the art dealer Bruno Bischofberger took Basquiat down to the Factory to meet Warhol. They had lunch and Warhol decided to exchange a Polaroid of the two artists (taken by Makos) for a Basquiat painting. In an act of one-up-man-ship and hubris, Basquiat decided to go further: he would create a painting for Warhol, a double portrait. Only a few hours later, Torton, Basquiat’s assistant returned with a finished painting. This was Dos Cabezas/Two Heads. Warhol, the master of staging, realised that (at last) he had been up-staged. Basquiat’s portrait of Warhol saw straight behind the mask, capturing his strangeness, awkwardness, voodoo-like attraction.

Recently, a friend told me an interesting story about Orokie. A story that showed similar speed and insight. One night, Orokie asked this friend to send him a picture of a Black Male. The “game” was this. The friend would write down what he saw in the picture. Orokie would respond in images, sending a picture that showed what he “felt” was inside the photograph. A few hours later, a picture returned by email. It showed a sense of hurt, a questioning in the mind of the Black Male. Orokie said there was “a deadness in his eyes” as if he knew what the photographer wanted: sex. For Orokie, it was not a nice photograph. The image was about modelling for money and sexual suffering. Orokie also said that there was illness inside the man, decay, a sense that life was wasting and the end was near. The beautiful face was a Death’s Head. Beneath the glamour of the image there was real sadness. It wasn’t only the speed of drawing that puzzled the friend, it was also the accuracy. The image was of Dennis Speight…by Mapplethorpe…one of the photographer’s casual (for Mapplethorpe) Black sex-partners…and his image was associated with one key work by Mapplethorpe: an installation which combined photographs (with thorn and calla lilies) and a stone Death’s Head in an image of sexual passion.

As fast as Basquiat, and as insightful!

Prayer

Before Orokie was taken ill, he was working on a major painting called "Prayer". This work (sketch above) now seems prophetic. The latest news is that Orokie remains in hospital, following emergency surgery, and is likely to remain hospitalised for a few more weeks. Thanks to those readers who have left their hopes and prayers on this, Orokie's blog...Orokie believes in the power of heart-felt words to create vibrations and change for the better. To those, out of the 600 that have passed through this blog in the past two weeks, all who are close friends of Orokie say "Thanks" on his behalf. We all look towards Orokie's recovery and future works that enshrine his joy and spirit. To Orokie: blessings!

Hope

Let us hope that this will still be the future and Orokie's recovery will be soon. Thanks to those who have sent kind greetings. There is hope still: Orokie has recovered from major surgery and intensive care.

Worrying news.

Dear readers of Orokie's blog,

I am afraid that posts have not happened this week. This is because Orokie has been seriously ill and there is still much concern about his well-being. I regret having to post this news, but do so because I know that people will be wondering why they have heard nothing from Afriboy. Please leave any thoughts and questions on this blog and I will do everything possible to keep you informed of what is happening. I would tell you more if I could, but I have little news except that which I have posted.

A friend of Orokie.

Orokie's Picture Poll (See right).

(5)

(4)

(3)

(2)

(1)

Dear Readers of my blog, it fills me with joy to know so many like to view my work. Now, if it is alright, I would like to ask your help. I wonder what kinds of pictures are liked most, what styles of drawing attract. I have placed five pictures above. I would be full of joy if you would take time to vote for the style you like most. Then I might know which work sings most to my blog's friends, early, or middle or recent. I thank you for taking time and give you a wave of my paint brush in appreciation. Thanks, Orokie. You may vote for as many pictures as you like.

Prophecy: new work!

This is beginning drawing for new work. The work is "Prophecy for Kenya". Words and final image will follow shortly. Be sweet until then, Orokie.

Angelic Art: Orokie's Angels.

Angels, as images, are ancient beings that enter many religions. By name, they are messengers, intermediaries between lower and higher worlds. (They are mal’ach Hebrew, malaaikah, Arabic). The Hebraic angels of the Kabbalah and The Bible are mysterious forms. The angel mythology which spreads through the world today mainly descends from Catholicism, whose imaginative art codified the nine groups of angels.

The angel is a strange image, from linguistic roots. It grows from masculine nouns. Angels themselves are given powerful masculine roles. This is most true in the Protestant world of Paradise Lost: warriors (Michael and Gabriel), advisor (Raphael), overseer (Uriel). And in the Catholic vision of Dante's Divine Comedy where angels are powerful mover-intelligences. Yet, the angel, as a being, is thought to be androgynous, with a feminine beauty. The Sufi Ruzbehan Baqli described Gabriel as “like a maiden…with hair like a woman falling in long tresses…like a red rose.” This feminine aura is typical of Pre-Raphaelite art which created male images from female models and pictured angels as non-erotic beings.

There is, however, an erotic core to angel mythology. This exists as Eros/Kama in Greek and Hindu mythology. In Greek mythology, the winged Eros is a god without body: Psyche must not behold him, she is taught to know him through mind/psyche. In Hindu mythology, Kama Ananga is about to release his love arrows when Shiva burns his body alive, thus showing how the mind must reach beyond physical desire. These myths portray an elevated sexuality—a winged sexuality. It is a view connected to contemplation and imagination.

In gay art, today, sexy angels are as numerous as the host of heaven. The deification of Beauty by gay art reflects the religious tradition of beautiful angels, but also the superficial worship of Beauty (mainly White Beauty) among gay culture. Just a glance down the art pages of eBay shows how seller and buyer meet through the sexy angel image, the “Adonis-Angel” stereotype, which shows about as much knowledge of mythology as it does of art! The youthful nature of angels (Eros-Hermes) is bastardized into boy-cult worship. Is parodied and paraded in paradisal angels with carnival strap-on wings:

Is changed into a gratuitous voyeurism that is off-set with religious overtones. Sickening:



But black angels do appear in this White world. At the most cynical level there is this:

Here, a Black Boy-Adonis is given a penis-halo. The figure is nothing more than a sexual object. His spiritual qualities are confined to what he might do with his cock (ring). A thug-image is finished off with evil black wings, black bat-like appendages: think Dore’s Satan or Gothic vampirism. And this black magic chocolate delight is painted in China, cheaply, on demand, to supply the West’s voyeuristic tastes. Forget being set on fire with angelic conversation. Meeting has become meat at a barbecue.

At another level, there are artists that represent a deeper mythology. Such as this watercolour that shows the angel Samael (Satan) in a double manner: fallen, yet holy, a Black angel that has fallen in the eyes of culture, yet one maintaining a dignity of self.

And there are photographs, such as this by Menfesawe-Imani (from the Black Angel Project), that recognise the spiritual with the Black image and locate the angelic within a mode of seeing.

In the angels of Orokie, Beauty is very much to the forefront. But the angels of Orokie possess a very different quality to those within prevailing White gay culture. They are vital beings. In this image of Sandalphon, whose name means the sound of the foot, whom Orokie also calls “Amini”, the Brotherly Guardian beats with a heart beat that is also a drum beat from Africa as it calls the foot into dance. His phallic wand bestows life and he is a symbol of the spiritual energy within brotherhood. ACTIVE, DIMENSIONAL, CONFRONTATIONAL, he is far-removed from the effete and badly drawn angels of fallen culture. As spirit made him, so he asks to be viewed by spirit. He is spirited in the true sense of the word: Black spirited, a testifying angel, erotic in the contemplative sense (of Eros/Kama Ananga). This Sandalphon requires the viewer to feel. In Orokie's art, his angels are symbols, they bring messages about embedding feeling in human life, not just eroticising what might be done with a beautiful boy in bed.

Chess Master-beating

"In a true game of chess there are always two minds at work and..."

Jeu des échecs

Jogo do chess

Juego del ajedrez

Conversation with Orokie.

I: What would you say are the pitfalls when drawing?

Orokie: Knowing when a work is finished. It is my weakness. It is very hard for me to detect when to stop and when to step further.

I: That is a real challenge with art, not just painting, but with writing too. Too much interference and a work can be killed.

Orokie: I’d say over-cooked. Sometimes I would stop, fearing the wrong finish. I keep a number of drawings resting, that I would look at over a period of time, and see if the finish is clear in my mind. Then I apply what is needed.

I: Yes, I do that sometimes. With painting this is truer. I find with writing that if I leave work for long time then the impetus goes and I finish mechanically, without much heart.

Orokie: Can you imagine how many dustbins go filled of mine with wrongly over-finished drawings?

I: They are lucky dustbin men! Tell me, when you draw, do you use right-hand or left hand?There is a link between handedness and brain-function. I am just curious.

Orokie: I am right handed, but sometimes I use both hands to make art.

I: Ambidextrous.

Orokie: some drawings I do with left-hand alone.

I: Much like a footballer then…I know you play and like football a lot…you use all-round control. Do your drawings differ in the time they take?

Orokie: Some are quick.

I: Yes, I’ve seen those. An image sent to you and an hour later a painting comes back. You are faster than Basquiat!

Orokie: Some take 6 hours…and some more hours than I realise. Many hours. I am slower than I sometimes think. Here is an example of left-hand drawing...

Orokie: a critical view.

In 1980, Robert Mapplethorpe produced his infamous “Man in Polyester Suit.” This is the photograph that sits on the easel in Orokie’s image. Mapplethorpe’s image produced mixed reactions (if not erections) in the 1980s. For some, it was the prime example of aesthetics and sexuality combined: sex was art and art was sex. For others, it was pornography: the fetishism of the Black male body. The semi-erect penis of Milton Moore (who had the most beautiful penis ever, for Mapplethorpe!) was both upgrading and degrading.

Mapplethorpe’s view of the Black male body in “Man in Polyester Suit” shows much of how Mapplethorpe looked at Black African men. The penis is their authenticity. The cheap, badly tailored suit (the pun in tailor, tail=penis would not have escaped the photographer) represents the fake veneer of Mapplethorpe’s Black men. The Black male touched civilisation in a distinctly shoddy manner, for him.

More recently, critics have claimed a more ambiguous role for Mapplethorpe’s photograph. Yes, it was a glorious sex hole for White males, but it was also a space in which Black men could gaze. An object of offence could also be an object of defence, allowing the Black male gaze to exist. The image allowed, in the words of critics like Mercer and Smalls, a double desire to co-exist. But the image in “Man in Polyester Suit” might be even more problematic than this. For it assumes that the Black male gaze has candour, honesty, and the fetishistic photograph might be turned into an agent of liberation. (Such might be as accurate as the belief that White men invariably look upon the Black male body like Mapplethorpe). In truth, the Black male gaze might be identical to Mapplethorpe’s view: candid, nothing more than an eye for sex-candy.

The photograph below is clearly a descendent of Mapplethorpe’s image. Of course, the Black male now wears a tuxedo, is given more status than an imported suit, non-American suit, but the message is no different. Beneath the trappings of dress, the Black male (the model Melshawn) is little more than his great penis. That Mapplethorpe’s image can be re-worked in this way (20 years later) does not show a development of the intelligence of feeling. It rather shows that nothing has changed for the better, indeed, has worsened, because Black men now consume the Black male image like White men. There is little difference. All that has happened is that Mapplethorpe’s high art pornography has become joking poornography. Still the same game: erect porn stars to celebrity status (as in Mapplethorpe’s photographs of Tom as a Da Vinci Renaissance Man). Little time is given to seeing the spiritual star within the common Black man.

Orokie’s painting casts an eye on these important issues. Who we are is implied by how we see. So, a Black male hand is guided by popping out eyes. A typical Orokie touch and hieroglyph for desire. Then, the artifice of Mapplethorpe’s work is stood against a natural horizon. In Orokie’s Black male, the image of Mapplethorpe is visually reversed (shirt tail from the right). Orokie’s African male exposes the sexuality within the model image and offers that sexuality as human, as natural. Much like Basquiat (in Armani), it plays with the image of the Black male artist and what kind of Black male aesthetic might result.

Orokie’s painting, here, questions the anaesthetic that is given daily to Black men who love other Black men. It suggests that human feeling is more than feeling a penis.

Erotic Art and Orokie.

Who is Art for? This week I came across a thought on erotic art which said: “The fantasy of the viewer is most important. That is what makes a painting erotic. Erotic art is made to awaken the fantasies of the viewer.”

Is that true? I do not know. Partly, I feel it true. But it has the room freshener smell of post-modernism to it. You know, the author is dead and so the reader has free rein to live as s/he wants when criticising the work of art. Erotic art is made for a virtual world, one in which the viewer can fantasise. But of what? Of meeting the person in the picture? Of having sex with the body shown? Of entering a scene and bringing an intense and personal story to life. Like this:

It was a hot dark. He had taken refuge in the shadows of a stair-well. Here, he felt the dry heat of the sun being replaced by a liquid heat inside himself. A temperature that compelled him towards one deep, flowing action. Etc.

(Breyette)

Perhaps. Yet, I think that the erotic spirit is more than this. Look at this painting.

It came from a connection between model and artist. When there is some spiritual link with the model, when he agrees and feels very easy to model, then the drawing comes very beautifully, while my spirit gets very pleased through the creative process, as delightful as making love when both partners do wish so. Surely, this is what exists in an Orokie. Or I would like to think so. A feeling that a personal love has made the work and the viewer can touch that personal love. What the viewer creates is touched by the view that came from the love felt by the painter. I hope so.

That is what I want to give in my work…to a viewer…to a buyer.