A groundswell of sub-Saharan diasporic, retro-futurist collage has emerged in recent years, perhaps - at least partially - to address the ongoing, societal fracturing and chimeric identity-formation in the wake of global neocolonialism.
The international applause has been resounding and well deserved for Yinka Shonibare’s Ankara fabric amalgams, Jeffrey Gibson’s psychedelic light baths, Mickalene Thomas’ West Coast celebration of the Black feminine gaze at the Grand Palais, Tschabalala Self’s “Lady In Blue” at Trafalgar Square’s Fourth Plinth, María Magdalena Campos-Pons writ large, and Hew Locke’s layered, multimedia assemblages - just to name a few.
Into this illustrious mix, Yashua Klos (b. 1977, Chicago, IL) must be added whose work is on display currently at the Harvey B. Gantt Center in Charlotte, North Carolina and Zidoun-Bossuyt Gallery in Luxembourg. Out of the gate, I just have to say that I am a huge fan. I mean: The palette alone? Swoon! The richness of muscadine purples! The faint whisper of cherry blossom beiges! Bowling ball blacks! Cobalt denim blues! International Space Station greys! Pinot Noir magentas! The overall effect is a sinister softness - with one foot in the mud of the Mississippi Delta, another foot on the sidewalk of the American Rust Belt and still a third leg of the stool on the moon. But, it is also so much more than just the color! The imagery! The textures! The craftsmanship! The scale! The musicality of the contrasting highlights! The improvisational forms that obliterate the rectangle! Woof! It’s all there.
Klos admits to being the grade school student who most excelled at drawing superheroes from comic book strips. And, to a certain degree, the exaggerated theatricality of heroic collision between opposing cosmic forces seems to still be at play in these graphics. Even if the work has more to do with Kanye West’s “College Dropout” album, one can hear the melodramatic intensity of the four-note Schicksals-Motiv which opens Beethoven’s 5th Symphony: da-da-da-DUMMMM. Heads are 70” tall - 8 to 9 times larger than life - bursting beyond the paper to which they are mounted - and seemingly severed with a cast shadow underneath à la Constantine. Planks of plywood flooring, marbled walls and cinderblocks erupt volcanically from the substrate of skin. Wheels of time cantilever atop quilted bunk beds! Giant, metallic flowers unfurl!
It’s got a “Mad Max”-meets-“Beloved” vibe to it all. This universe clinks and clanks! It is loud and fast and unrelenting and confrontational. It is hard for me not to ask myself in front of an entire room of this work: Why has this nation whose wealth has been generated by the un- and under-paid labor of Black bodies and whose edifices have largely been erected by Black bodies so often discriminated against Black bodies in public space? Why were the tax dollars of Black families used to pave the streets on the other side of the train tracks? Why has this nation walled off so many Black bodies behind jail cells? Why redlining? Why suburban flight? Why in Tyrrell County, North Carolina was there a Confederate Statue in the town square bearing the inscription “In appreciation of our faithful slaves” in plain sight until a Federal judge ruled against it just last month?
But, that does not seem to be the aim of the work: to elicit white guilt. Rather, the collection stands as a monumental testimony to and celebration of the architectonics of memory and resilience - black genius refracting black genius - the subtlety and delicacy of “non-Western achievement,” a phrase which rising superstar curator, Dexter Wimberly, so deftly uses to describe “Who’s Streets?” (2026) and its references to the pyramids of Giza. After all, in Klos’ oeuvre, for all of the infernal heat of shifting continental shelves around the human figures, the faces of the featured protagonists remain unblemished and their expressions hold a dignified, far-away repose. Unharmed! Amidst the flotsam and jetsam of systemic oppression, some stuff just will not sink!
And, here, it is important to remember two things. One: This show is housed in a beautiful building in downtown Charlotte designed by the late Phil Freelon (who also designed the Blacksonian on the National Mall in Washington, DC) to honor Harvey B. Gantt, the renowned architect, first student to integrate Clemson University and politician who after serving as the first black mayor of the Queen City challenged and narrowly lost to supremacist and Mapplethorpe-censor Senator Jesse Helms. In the land of Bank of America and the home of NASCAR, Gantt and the Gantt are cornerstones!
Two: These are woodblock prints or more precisely, quilted scraps of a variety of printmaking techniques. In this particular medium, a dense grain of cherry, poplar or birch is bored by a u-gouge to remove the unnecessary organic matter. What remains is the original surface which when inked with a rolling pin brayer and rubbed transfers a positive image in reverse to a paper or muslin substrate. This technique was most famously deployed by the Japanese - called ukiyo-e - or “the floating world” in the Edo period due to the gentle weightlessness of the hues while showcasing the fleeting pleasures of geishalife in an otherwise transient world of suffering. The Buddhist aesthetics of detachment are yet another cornerstone!
And, the seminal work in Klos’ exhibit is a direct response to the greatest ukiyo-e image, Hokusai’s “The Great Wave off Kanagawa: 36 Views of Mount Fuji” (1831) as well as to his own career-defining, thesis exhibition tour-de-force, “The Face on Mars” (2009) which is nearby on an adjacent wall. In Klos’ take, a baseball cap rests on the head of a sleeping male figure who clutches a black book or wall. This figure’s blue hoodie chromatically echoes the two blue waves crashing right to left in the opposite bottom corner - creating a cascade in the reverse direction of Hokusai’s wave. A billowing cloud of seafoam greys occupies center stage and barely unveils the faces of two full-lipped and not-fully-awake griot deities staring off into the upper left. Smaller sections of burnt sienna in inverted triangular pediments send the viewer both up and down - like buttons on an elevator - simultaneously. Is this the fatigue at the start of another school day - head down on your desk with your backpack still on? Or, a swim for survival in the floodwaters of Katrina? Across the Ohio River? Amidst the Middle Passage? Or, simply, a pleasant, lunch-break nap on the shores of Lake Michigan?
In Klos’ “Cornerstones,” fragmentation - societal, esthetic or interpersonal - never exists without the possibility, hope and reality of reintegration – but not in an accommodationist, “fit-in” manner to dominator culture. After all, remember in Klos’ “The Great Wave,” there is no devastating tsunami; the dreamer dwarfs the mere ripples of water. And, across his portraiture writ large, the features of lips, nostrils, brow and hairline – long lampooned disparagingly in American visual culture – are here abstracted into stylized planes in an analogous manner to his treatment of the building materials themselves. The faces and the constructed armatures are not at odds with one another; they are one. Blackness, in Klos’ vernacular, is the architecture of all that is – the glue of American history; and, Black self-love is his ultimate cornerstone.
WHM
“Yashua Klos: Cornerstones” Through January 22, 2027, Harvey B Gantt Center for African-American Arts+Culture, Charlotte, NC.
“Yashua Klos: Towards a New Mythology” Through October 17, 2026, Zidoun-Bossuyt Gallery, Luxembourg.
Yashua Klos received his BFA from Northern Illinois University in DeKalb (2000) and his MFA from Hunter College, City University of New York (2009), both in Fine Art. A major solo institutional show, Yashua Klos: OUR LABOUR, curated by Tracy L. Adler, was presented at the Wellin Museum of Art at Hamilton College, Clinton, NY, in 2022. Other notable exhibitions include Multiplicity: Blackness in Contemporary American Collage at the Frist Art Museum, Nashville, Tennessee (2023), the Museum of Fine Arts, Houston, Texas (2024), and the Phillips Collection, Washington, DC (2024); Yashua Klos: OUR LIVING at the Center for Maine Contemporary Art, Rockland, Maine (2022); Elegies: Still Lifes in Contemporary Art at the Museum of the African Diaspora, San Francisco, California (2022); and Africa, Imagined: Reflections on Modern and Contemporary Art at Kalamazoo Institute of Arts, Kalamazoo, Michigan (2022).
Nate Hester
Nate Hester is a transdisciplinary artist (Boston University, New York Studio School) whose work explores technology's impact on the psychopolitical dynamics of the American home and our collective memories through a practice rooted in anti-racist discourse and family systems theory. He lives and works on an ancestral farm in rural North Carolina. When not building surreal ecosystems, Hester enjoys fresh fruit pies around sing-along campfires with his young daughter and the occasional spa day a luxury hotel.
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