“The concept of the May Queen served as a focal point in the selection of artworks. As the goddess of spring and a symbol of growth, the May Queen reigns over mythical spaces, embodying the essence of May Day’s annual festivities. She is a multifaceted figure, reinvented in each generation, consistently infusing the world with vibrant colors and alluding to the enigmatic realms she holds within her grasp. Similarly, the artists in this exhibition evoke a sense of vibrancy, inviting us to contemplate the secrets that may or may not be unlocked upon reflection.

Daisy Patton incorporates a found photograph of a young woman, adorning her with a crown of flowers. Meanwhile, in Genevieve Cohn’s work, a figure gazes at a portal of light held within her hands. Who are these women? Do they reflect our past or our culture? Karen Lederer’s artwork brings the natural world from outside into the sanctuary of the home, where flowers grown in one space find new life in another.

Jennifer Coates presents a nymph, positioned near the center of the composition, resting within a glowing red pool outside a bunker. Has she been cast aside or narrowly escaped? In my own work, a woman’s face is obscured by a veil of flowers. Is it a portrayal of introspection, or is there a desire to conceal? Hilary Doyle’s figure turns away from the viewer, using her body as a shield for her child against the wind and the unknown. I believe the answer to all these questions is “both.”

The artists in this exhibition pose questions about our relationship with a world that holds a rich history yet is perpetually focused on the future, embracing both myth and science. The May Queen embodies these qualities as she straddles the boundary between reality and another realm. She represents history and rebirth, simultaneously existing as a fictional character and a community’s crowned girl. Much like the artwork in this show, she is multi-faceted and brimming with secrets.”

Erika Hess 2023

“In the Anansi paintings, abstraction expands gender and sexuality beyond classification through an embrace of potential, all the ways it could be and is. This reflects Caribbean ways of being with the belief that who we are or what we know is not fixed, and rather always in process.”¹

While Johnson is currently based in Chicago, he reflects upon his own experiences and researches the history of his homeland. The memories of growing up and living in the Caribbean feed these paintings, with the mysterious nature of living as a gay man in a culture still dealing with the legacy of colonialism and the ghosts of its West African roots. “By referencing Anansi, the spider character that originates in West African folklore and became ingrained in Caribbean culture through Trans-Atlantic slavery, Johnson positions Black queer intimacies within a distinctly Afro-diasporic context. Though usually referred to as male, Anansi is a shapeshifter and thus is not limited by constructions of gender or the confines of heterosexuality. Known for his wit and ability to traverse difficult situations, Anansi highlights the knowledge Black queer people develop in order to navigate complex, and sometimes dangerous worlds.”² Johnson explores history and how it shaped culture, even as it is felt today. His paintings are layered both literally and figuratively, through collage and painting technique and with symbolism and suggestion.