IN KEEPING WITH MYSELF

ERIKA DEFREITAS


Colour image of hands partially covering cut out photos of a woman and other prints, and some paper. A small round mirror faces up from the desk. Hand written words under the image read: Rec'd an email from Emily. M - learned about Jeanne Duval - Baudelaire was her partner. I'm drawn to her - to them. Feeling close to Maud Saulter's body of work & research on Jeanne. her eyes? Yes Lorraine O'Grady. I thought to contact Maud before going to Scotland - then read about her passing 10 years earlier. Saw her photos in Edinburgh.
© Erika DeFreitas, arriver avant moi, devant moi (diptych), 2019–2020
Archival inkjet prints, 121.92 x 96.52 cm (48 × 38 inches)
Colour image of hands partially covering cut out photos of a woman and other prints and artwork, and some paper. The right hand holds the small round mirror and reflects Erika DeFreitas" face. Hand written words under the image read: Maud joins me in this process. A careful slow looking. there is a resonance. "est arrivée là avant moi devant moi". (Jeanne/Berthe/Lemer/Lemaire/Prosper?) "In what ways are what we remember, memorialize, organize, and archive predicated on chance operations". this vs intuition.
© Erika DeFreitas, arriver avant moi, devant moi (diptych), 2019–2020
Archival inkjet prints, 121.92 x 96.52 cm (48 × 38 inches)

Erika DeFreitas is a Toronto-based artist who is curious about the various forms of loss one may encounter. Her interdisciplinary practice draws on both personal and cultural histories to investigate absence and presence. She uses a variety of media and places an emphasis on process, gesture and documentation. What has evolved is a playful obsession with finding ways to make the impermanent permanent, or engaging in ritualistic acts in the hopes of regaining what is lost.

Encompassing research, documentation and gestured collage, DeFreitas’s diptych, from her larger series arriver avant moi devant moi, provides a space for reflection. The artist searches for the Black body in European and Western art history. In her process, she invokes visual artists like Maud Sulter and Lorraine O’Grady, and actress and dancer Jeanne Duval, whose faces and accomplishments are often erased from history. This search for artists from the past is akin to genealogical research, where the quest for a sense of identity is paired with the desire to create a space for the self within the narrative of family histories. With her artwork, DeFreitas creates a new history — a new space in which she places herself within a long line of often hidden faces and talents.


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