ARTIST STATEMENT
Whether I was aware of it or not, otherness has been at the center of my consciousness since the beginning of my artistic career. My early ideals of race and beauty were shaped by and linked through paintings of renaissance artists and photographs in fashion magazines. Those images were mythical, heroic, beautiful, and powerful and embodied a particular status that was not afforded equally to anyone I knew. Those images influenced the way I viewed myself and other African Americans, which led me to investigate the way our identities have been imagined and shaped by societal interpretations of beauty. Having one’s identity dismantled, marginalized and regulated to non-human status demands action. This led me to critically engage image-making in art history and pop-culture, and ultimately grapple with whatever power and authority these images have over the female figure.
My art practice takes on social commentary, critiquing perceptions of ideal beauty. Stereotypes and myths are challenged in my work; I create a dialogue between the ideas of inclusion, dignity, consumption, and subjectivity by addressing beauty in the form of the ideal woman, the Venus. By challenging Venus, my work challenges the notion of universal beauty—making room for women of color who are not included in this definition.
Wading through my work, you must look through multiple layers, double meanings and symbols. My process combines found and manipulated images with hand drawn and painted details to create hybrid figures. These figures often take the form of young girls and increasingly Black boys, whose well being and futures are equally threatened because of the double standard of boyhood and criminality that is projected on them at such a young age. The boys and girls who populate my work, while subject to societal pressures and projected images, are still unfixed in their identity. Each child has character and agency to find their own way amidst the complicated narratives of American, African American and art history.
BIO
Deborah Roberts (American, b. 1962) is a mixed media artist whose work challenges the notion of ideal beauty. Her work has been exhibited internationally across the USA and Europe. Roberts' work is in the collections of the Whitney Museum of American Art, New York, New York; Brooklyn Museum, New York, New York; The Studio Museum in Harlem, New York, New York; LACMA, Los Angeles, California; the Virginia Museum of Fine Arts, Richmond, Virginia, Guggenheim Museum, New York, New York, and the Modern Art Museum of Fort Worth, Fort Worth, Texas, among several other institutions. She was selected to participate in the Robert Rauschenberg Residency (2019) and was a finalist for the 2019 Outwin Boochever Portrait Competition, as well as the recipient of the Anonymous Was A Woman Grant (2018), and the Pollock-Krasner Foundation Grant (2016). Texas Metal of Arts Award (2023) Roberts received her MFA from Syracuse University, New York. She lives and works in Austin, Texas. Roberts is represented by Stephen Friedman Gallery, London and Susanne Vielmetter Los Angeles Projects, CA.