Kesha Bruce
Kesha Bruce. She was Born to Water, 2022. 60 x 48 in. Mixed-media Textile Collage on canvas. Courtesy Morton Fine Art and the artist

New Mixed-media Paintings by Kesha Bruce at Morton Fine Art Represent a Crossroads Between Poetry and Praxis

The fruition of a long and intuitive process, Bruce’s works suggest a constellation of signsgreater than the sum of their parts.

Washington, D.C. – Morton Fine Art is pleased to announce Take Me to the Water, a solo exhibition of mixed-media paintings by the artist Kesha Bruce. An intuitive combination of painting, collage and textile art, Bruce’s work represents the culmination of a holistic creative practice developed by the artist over several decades. Her eighth exhibition with the gallery, Take Me to the Water will be on view from September 17 to October 11, 2022 at Morton’s Washington, D.C. space (52 O St NW #302).

Kesha Bruce
Kesha Bruce. Gifts for Mami Wata, 2022. 40 x 30 in. Mixed-media Textile Collage on canvas. Courtesy Morton Fine Art and the artist

The wall works of Kesha Bruce are less discrete executions of a concerted vision than the steady accumulation of a long creative process. Referred to by the artist simply as paintings, these mixed-media compositions are in fact patchworks of painted fabric, individually selected from Bruce’s vast archive and pasted directly onto the canvas in a textile collage that can sometimes resemble a quilt. The result of a slow and perpetual artistic method, each work represents hours of treatment, selection and juxtaposition until the whole becomes manifestly greater than its parts. Bruce’s process ends with her titling of each work: a poetic articulation of what the work is at this point capable of expressing for itself.

Much like water, the routine behind Bruce’s artmaking is cyclical and in service to a greater equilibrium – a pointed contrast to many of the epitomic works that make up much of the traditional art histories of the past several centuries, and which tend to aggressively emphasize rupture, madness and unsustainability as the most fruitful mothers of invention. Bruce’s process is distinctly different, and points to more a promising alternative for artmaking, in which creativity and lived experience are inseparably intertwined. For Bruce, this means that art can be not only a form of self-care but an act of self-discovery. Noting that her color palette has become markedly warmer since she moved to Arizona (where she currently serves as the Director of Artist’s Programs for the state’s Commission on the Arts), the artist delineates her method as a form of strategic openness – making room and taking time to allow the materials to guide her toward their final form, rather than the other way around.

Kesha Bruce
Kesha Bruce. Memory of Matala, 2022. 60 x 48 in. Mixed-media Textile Collage on canvas. Courtesy Morton Fine Art and the artist

The show’s title, Take Me to the Water, alludes to a 1969 rendition of the traditional gospel song by Nina Simone at the University of Massachusetts Amherst. Bruce locates something transcendent in the recording of Simone’s performance that encapsulates what any form of artmaking, at its best, can be: a conversation between oneself and the divine. Deftly aware of the elemental power of water as a force that follows its own paths and forms its own shapes, Bruce identifies her artistic process closely with this element, and notes how the transcendental effects which result from it can be as overwhelming and rhythmic as the ocean waves of Big Sur.

As an exhibiting artist for over 25 years, Bruce has steadily oriented her craft toward capturing and encouraging the process of artmaking as an end in its own right – a way both of making something new and taking stock of oneself. As an administrator who oversees the creative programming for the entire state of Arizona, Bruce is intuitively attuned to the reciprocal relationship between transcendent acts of self-expression and the quotidian struggle to survive. In this role, she is a mentor and advocate for hundreds of other artists; the example she sets in her own artistic practice, with its emphasis on personal growth over commercial capitulation, thus becomes a form of potent political praxis.

Kesha Bruce (b. 1975, Iowa). Born and raised in Iowa, Bruce completed a BFA from the University of Iowa before earning an MFA in painting from Hunter College in New York City. Bruce has been awarded fellowships from the New York Foundation for the Arts (NYFA), The Vermont Studio Center, The CAMAC Foundation and the Puffin Foundation. Her work is included in the collections of The Smithsonian Museum of African American History and Culture (14 pieces), The Amistad Center for Art and Culture, The University of Iowa Women’s Center, The En Foco Photography Collection and MOMA’s Franklin Furnace Artist Book Collection. She has been represented by Morton Fine Art since 2011.

In addition to her studio practice, Bruce has been the Artist Programs Manager at the Arizona Commission on the Arts since 2019. She also serves as the Board Chair of Tessera Art Collective, a non-profit organization that supports and elevates the work and practices of BIPOC women artists working in abstraction. Bruce is also co-founder of Blac k Girl Basel – the only event during Miami Art Week intentionally created for Black women artists, creatives, entrepreneurs, activists and cultural change-makers.

Morton Fine Art

Founded in 2010 in Washington D.C. by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.

52 O St NW #302, Washington, DC 20001, United States

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