David Huffman 2022 by Miles McEnery Gallery

DAVID HUFFMAN

DAVID HUFFMAN THE AWAKENING

511 West 22nd Street New York NY 10011

515 West 22nd Street New York NY 10011

525 West 22nd Street New York NY 10011

520 West 21st Street New York NY 10011

DAVID HUFFMAN: THE AWAKENING By Lawrence Rinder David Huffman’s imagery, themes, and, I would argue, even his incorporation of diverse abstract styles derive largely from the phenomena of the first five years of his life. Born in 1963, Huffman grew up in Berkeley, California, during the full flower of the hippie movement. His father died when he was a baby, leaving his mother, Dolores Davis, to raise David and his four siblings. Their home was a sanctuary for philosophers, musicians, and political activists, especially those associated with the Black Panther Party. Young Huffman absorbed these influences and nurtured his own interests in astronomy and nuclear physics. Adorning his bedroom walls were two posters: one of Malcolm X and the other of Albert Einstein. Like many children who grew up in counter-culture milieus, Huffman’s youth was an amalgam of hippie freedoms, like playing naked with his friends in the fountain on the University of California, Berkeley’s Sproul Plaza; and mainstream attractions like comic books, cartoons, and sci-fi movies. For Huffman, this duality was enriched by exposure to some of the leading figures of the Black Power movement. A remarkable illustration of this radically hybrid experience is the story of Huffman’s role in helping his mother, a graphic artist, design the Free Huey [Newton] flag. His mom was struggling to get the paws of the black panther just right when five-year-old David offered to help. Applying insights obtained by studying illustrations of Rudolph the Red-Nosed Reindeer, he fine-tuned this now iconic image. Among Huffman’s most powerful childhood memories are those of the summer festivals at Berkeley’s Provo Park, named for the Provos, a Dutch anarchist collective. More central to the hippie movement than the now-better-known People’s Park, Provo Park was the setting for regular

David Huffman, his two brothers Ronald and Robert, and Bobby Seale of the Black Panther Party in 1970 in Provo Park, Berkeley, CA

weekend gatherings in the late 1960s that featured free music, food, and flea-market-style vendors selling clothes, records, crafts, and fine art. The musicians ranged from Berkeley High School student bands to some of the best-known acts of the time, including Carlos Santana, Big Brother and the Holding Company, and Country Joe and the Fish, as well as performers from Oakland’s Black music scene, including Ulysses Crockett and Afro Blue Persuasion. Huffman’s strongest childhood memory from Provo Park was of the diversity of the scene: Blacks mixed with whites, politics mixed with pleasure, and dashikis mixed with displays of abstract painting. His perspective isn’t an ordinary historical view of this celebrated serial gathering of hippies, activists, and their spiritual kin. In Huffman’s paintings, kente cloth visually rhymes with hardedge abstraction, the head of a sphinx merges with the face of his mom, and basketballs float alongside the moons of Jupiter and Pluto. One might easily mistake Huffman’s juxtaposition of seemingly antithetical modes of abstraction—hard-edge and expressionistic—as some kind

of postmodernist ploy. It is not. Their presence in these paintings is not a clever or ironic art historical pose but, rather, an authentic and genuine reflection on his early life experience. The works’ diverse styles of abstraction serve other purposes too. The gestural, linear marks that both underlie and superimpose upon the paintings allude to the rhetoric of freedom that was part and parcel of the Abstract Expressionist movement, while at the same time suggesting the unschooled energy of a child’s first drawings. The hard-edge passages, always at the margin, create a sense of foreground and background, and help to establish a sense of deep space. Huffman has spoken of these forms as “cliffs” or “precipices,” and, indeed, they are our diving boards—sturdy and rectilinear—into the churning, watery, weightless spaces of mind and memory.1 The brushy, “expressionist” passages meanwhile are less references to the history of painting— though there is indeed some of that going on—than they are Huffman’s attempt to capture the visceral sensations of the cosmos. His voyage into the universe is most evident when splatters of paint—bright droplets—spill across black voids, looking for all the world like stars scattered across the night sky. Huffman is one of the progenitors of Afrofuturism, a literary, musical, and artistic movement that looks to the unfathomable possibilities of deep space as a mechanism for exploring alternative histories and futures for the African diaspora. Huffman’s interest in outer space as a site for constructing identity can also be traced back to his childhood and his encounters with the comic illustrations of Jack Kirby (especially the Fantastic Four characters Human Torch, Storm, Black Panther, and Thing); Isaac Asimov novels such as I, Robot; and screenings of the classic Worlds in Collision, which he saw in a theater that once stood at the corner of Dwight Way and Telegraph Avenue, one of the most hard-fought corners of 1960s Berkeley civil unrest. For young David, the onscreen story of global apocalypse resonated with the tear gas and bullets that were flying just outside. For him, science fiction was as much a description of daily life as it was an escape into futuristic fantasy.

Stephen Shames, The window of Black Panther Party National Headquarters at Grove and Forty-fifth Streets in Oakland after shots were fired by police following Huey Newton’s murder trial verdict, 1968 Gelatin silver print on Kodak paper 9 1/8 x 6 inches, 23.2 x 15.2 cm The Jack Shear Collection of Photography at the Tang Teaching Museum © Stephen Shames 1978

A sense of impending doom that colored his generally happy childhood was also brought on by encounters not only with the enriching community spirit of the movement but also with the violence wreaked upon the Black Panther Party by the local police. One especially memorable event was rushing with his mother to the scene of a raid on the party’s Oakland headquarters where, without cause, the police had shot countless rounds into the building’s facade, leaving the office in ruins and the street littered with broken glass. Is it too far-fetched to see in Huffman’s jumbled-all-over compositions, his incorporation of references to iconic African American figures, and his creation of abstract zigzags and ominous voids, some imaginative residue of that violently shattered storefront window? In their gravity-free concatenation of found and fabricated imagery, Huffman’s works echo, to a degree, the look and feel of Robert Rauschenberg’s so-called “flatbed picture plane,” which in the words of the critic Leo Steinberg, who coined the term, is, “… any receptor surface on

Andy Warhol, Little Electric Chair, 1964–1965 Acrylic and silkscreen ink on linen 22 x 28 inches, 55.9 x 71.1 cm © 2022 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS)

which data is entered, on which information may be received, printed, impressed—whether coherently or in confusion.”2 Yet, Huffman is quick to point out an important difference: Whereas Rauschenberg was working with Cage-ian randomness, to Huffman, specificity matters. Huffman notes that, in this sense, his work is more akin to Warhol’s. “Warhol cared about the people and things he depicted,” Huffman says. “He cared a lot.”3 Both Huffman’s and Warhol’s works are haunted by youthful pleasure and trauma. Both artists suffered in their childhoods from poverty, sickness, and hospitalization, yet both had encouragement from supportive parents and found in their local environments—for Warhol, the Catholic Church, and for Huffman, Provo Park and the Black Panther Party—sources of solace and inspiration that would remain with them into adulthood. The art historian Derek Conrad Murray has written cogently about Huffman’s engagement with “social abstraction,” a term coined by the artist Mark Bradford that is inclusive of other contemporary artists, such as Julie Mehretu and Samuel Levi Jones, who balance references to social issues with attention to formal concerns growing out of twentieth-century aesthetics of abstraction. Although very much part of the current artistic discourse, social abstraction has a long

Left: Norman Lewis, Confrontation, 1971, oil on canvas, 88 x 72 inches, 223.5 x 182.9 cm, Private collection © Estate of Norman W. Lewis, Courtesy of Michael Rosenfeld Gallery LLC, New York, NY Right: Hannah Ryggen, Blood in the Grass, 1966, woven rug in wool and linen, 94 1/2 x 114 inches, 240 x 290 cm Image courtesy KODE-Art Museums of Bergen. Photo by KODE/Dag Fosse © Hannah Ryggen / DACS 2022

history. Mid-twentieth century artists as diverse as Joan Miró, Norman Lewis, and Hannah Ryggen skillfully negotiated the fraught terrain between abstraction and social commentary, proving that art can be both timely and timeless. Huffman’s work charges full-bore into this art historical dialectic, incorporating multiple tropes of abstract painting (i.e., hard-edge, expressionistic, etc.) alongside images and texts that serve as iconic markers of social conflict and history. Yet, there is another way to look at social abstraction: It can be seen not so much as the incorporation of recognizable images or texts that capture the social conditions of a specific place and time but as the very style of the painting itself. As the artist William T. Williams said of his hard-edge abstractions of the late 1960s and early 1970s:

William T. Williams, Elbert Jackson L.A.M.F. Part II, 1969 Acrylic on canvas, 115 1/4 x 109 7/8 inches, 292.7 x 279.1 cm The Museum of Modern Art, New York, NY Gift of Carter Burden, Mr. and Mrs. John R. Jakobson © 2022 William T. Williams. Courtesy of Michael Rosenfeld Gallery LLC, New York, NY

The works have a sense of restrictiveness or of repression, and this containment is underneath all those paintings of that period. It’s a metaphor for what was going on around me. I didn’t want to paint figuratively. I didn’t want something that was overtly referencing the social issues around me, but I wanted to find a way to describe them. How do you internalize this? How do you make a form that forces a painting to be an experience that is not necessarily easy to see, handle, or look at? 4 Similarly, the presence in Huffman’s paintings of diverse stylistic tropes reflects his own hybrid cultural upbringing… the images, colors, textures, and patterns, as well as the unique social atmosphere of his youth. Many of Huffman’s social references—both abstract and representational—are distinctively rooted in his own childhood, albeit a childhood that rubbed shoulders with history.

Finding allusions to contemporary figures and events among what are otherwise recollections from Huffman’s distant past points to the central theme of Huffman’s current body of work: the reiteration of history. To Huffman, the world suffers from a peculiar inability to break out of its seemingly endless cycle of liberation and reaction. The arc of history is indeed long, and it may well bend toward freedom, but in his own life, Huffman has seen more than enough evidence of backsliding in society’s attitudes toward race. So the title of this exhibition, “The Awakening,” must be seen at least in part as ironic. The kind of awakening these works describe is less the awakening of Dorothy into the comforts of home after her tumultuous journey to the Land of Oz than it is a Groundhog Day nightmare of endless reawakenings into a beautiful reality tarnished by hate, malice, and fear. “We woke up before,” he says, recalling his experiences as a child in the ’60s, “So why do keep needing to awaken again and again?”5 Lawrence Rinder is an independent curator and writer living in Ukiah, California.

Endnotes 1. David Huffman, conversation with the author, April 1, 2022. 2. Leo Steinberg, Other Criteria: Confrontations with Twentieth-Century Art, (London: Oxford University Press, 1972), p. 55. 3. David Huffman, conversation with the author, April 1, 2022. 4. “ William T. Williams by Mona Hadler” (part of The Oral History Project), BOMB, February 19, 2018, p. 24. https://bombmagazine.org/articles/william-t-williams-by-mona-hadler/ 5. David Huffman, conversation with the author, April 1, 2022.

Cosmology, 2020

Acrylic, oil, spray paint, African cloth, glitter and color pencil on wood panel 72 x 59 3/4 inches 182.9 x 151.8 cm

I Can’t Breathe #7, 2020

Acrylic, oil, spray paint, African cloth, glitter and color pencil on wood panel 72 x 59 3/4 inches 182.9 x 151.8 cm

Riot, 2020 Acrylic, oil, crayon, glitter, collage and spray paint on canvas 48 x 71 7/8 inches 121.9 x 182.6 cm

Sublimation, 2020 Acrylic, oil, spray paint, African cloth, glitter and color pencil on wood panel 72 x 59 3/4 inches 182.9 x 151.8 cm

Africano, 2021 Acrylic, oil, spray paint, African cloth, glitter and color pencil on wood panel 60 x 60 inches 152.4 x 152.4 cm

Diop’s Universe, 2021

Acrylic, oil, spray paint, African cloth, glitter and color pencil on wood panel 60 x 60 inches 152.4 x 152.4 cm

Psychedelic Drum, 2021 Acrylic, oil, spray paint, African cloth, glitter and color pencil on wood panel 60 x 60 inches 152.4 x 152.4 cm

Children of the Sun, 2022 Acrylic, oil, spray paint, African cloth, glitter, photo collage and color pencil on canvas 77 x 77 inches 195.6 x 195.6 cm

Kemit Soul, 2022

Acrylic, oil, spray paint, African cloth, glitter and color pencil on wood panel 60 x 48 inches 152.4 x 121.9 cm

Ogun, 2022 Acrylic, oil, collage, spray paint and color pencil on wood panel 60 x 60 inches 152.4 x 152.4 cm

The Awakening, 2022

Acrylic, oil, spray paint, African cloth, glitter, photo collage and color pencil on canvas 77 x 77 inches 195.6 x 195.6 cm

This Season’s People, 2022

Acrylic, oil, spray paint, African cloth, glitter, photo collage and color pencil on wood panel 72 x 60 inches 182.9 x 152.4 cm

DAVID HUFFMAN

Born in Berkeley, CA in 1963 Lives and works in Oakland, CA

2011 “Out of Bounds,” San Francisco Art Commission Galleries, San Francisco, CA “Floating World,” Patricia Sweetow Gallery, San Francisco, CA

EDUCATION

2008 “Dig It!” Patricia Sweetow Gallery, San Francisco, CA

1999 MFA, California College of the Arts & Crafts, San Francisco, CA

2006 “Pyramid Dreams,” Patricia Sweetow Gallery, San Francisco, CA

1986 California College of the Arts & Crafts, Oakland, CA

2005 “Land of the New Rising Sun,” Lizabeth Oliveria Gallery, Los Angeles, CA

1985 New York Studio School, New York, NY

2004 “Light Matter,” Patricia Sweetow Gallery, San Francisco, CA “Dark Matter: The Art of David Huffman,” de Saisset Museum, Santa Clara University, Santa Clara, CA

SOLO EXHIBITIONS 2022 “The Awakening,” Miles McEnery Gallery, New York, NY “Terra Incognita,” Museum of the African Diaspora, San Francisco, CA 2021 “David Huffman: Afro Hippie,” Berkeley Art Center, Berkeley, CA 2019 Miles McEnery Gallery, New York, NY

2001 “Trauma Travel,” Patricia Sweetow Gallery, San Francisco, CA 1999 “David Huffman,” Patricia Sweetow Gallery, San Francisco, CA 1998 MFA Exhibition, California College of Arts & Crafts, Oakland, CA

2018 Jessica Silverman Gallery, San Francisco, CA

1997 “David Huffman, Selected Paintings,” The Renaissance, Santa Monica, CA “Broadsides,” Jeff Baum Gallery, Los Angeles, CA

2017 “Print Project,” Paulson Fontaine Press, Berkeley, CA

GROUP EXHIBITIONS

2016 “Worlds in Collision,” Roberts and Tilton Gallery, Culver City, CA 2014 “Everything Went Dark Until I Saw Angels,” Patricia Sweetow Gallery, San Francisco, CA

2022 “BOTH TEAMS PLAY HARD,” San Francisco Museum of Modern Art, San Francisco, CA “The Artist’s Eye: Tammy Rae Carland, David Huffman, Lava Thomas, John Zurier,” Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley, Berkeley, CA

“Gender Euphoria,” Jessica Silverman Gallery, San Francisco, CA “Mothership: Voyage Into Afrofuturism,” Oakland Museum of California, Oakland, CA “Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press,” Bakersfield Museum of Art, Bakersfield, CA Nino Mier Gallery, Los Angeles, CA

2017 “Where is Here” (curated by Jacqueline Francis and Kathy Zarur), Museum of the African Diaspora, San Francisco, CA “Public Arts Project,” Franz Mayer of Munich, Munich, Germany “Call for Beauty” (curated by 3.9 Art Collective), Root Division, San Francisco, CA

2021 “Home & Away: Selections from Common Practice” (curated by John Dennis, Dan Peterson and Carlos Rolón), Miles McEnery Gallery, New York, NY “Recognition and Response: Rico Gatson and David Huffman,” Miles McEnery Gallery, New York, NY

2016 “Perfect Day,” Roberts and Tilton Gallery, Culver City, CA “March Madness” (curated by Hank Willis Thomas and Adam Shopkor), FORT GANSEVOORT, New York, NY “Place,” Art Projects International, New York, NY

2020 “To The Hoop: Basketball and Contemporary Art,” Weatherspoon Museum of Art, University of North Carolina, Greensboro, NC; traveled to the Ulrich Museum of Art, Wichita State University, Wichita, KS “Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press,” Charles H. Wright Museum of African American History, Detroit, MI 2019 “Ordinary Objects/Wild Things,” de Young Museum, San Francisco, CA “Counternarratives,” Charlie James Gallery, Los Angeles, CA “There’s Reality and Then There’s California,” NIAD Art Center, Richmond, CA 2018 “Way Bay,” Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley, Berkeley, CA “Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press,” Bedford Gallery, Lesher Center for the Arts, Walnut Creek, CA; travelled to Las Cruces Museum of Art, Las Cruces, NM; Art Museum of West Virginia University, West Virginia University, Morgantown, WV; Montgomery Museum of Fine Arts, Montgomery, AL; Museum of Arts and Sciences, Daytona Beach, FL and DeVos Art Museum, Northern Michigan University, Marquette, MI “Sidelined” (curated by Samuel Levi Jones), Galerie Lelong & Co, New York, NY

2015 “Portraits and Other Likenesses,” San Francisco Museum of Modern Art and Museum of the African Diaspora, San Francisco, CA “Vertigo@Midnight: New Visual AfroFuturisms & Speculative Migrations,” Clark Humanities Museum, Claremont Colleges, Claremont, CA “Color Fields,” Bakalar and Paine Galleries, Massachusetts College of Art and Design, Boston, MA “Hydrarchy: Power, Globalization and the Sea,” Fine Arts Gallery, San Francisco State University, San Francisco, CA “Artadia,” The Battery, San Francisco, CA 2013 “The Shadows Took Shape,” The Studio Museum in Harlem, New York, NY “Dissident Futures,” Yerba Buena Center for the Arts, San Francisco, CA “Making Space,” Euphrat Museum of Art, De Anza College, Cupertino, CA “Fear Not: African Aesthetics of Faith, Belief, and Resistance,” Museum of Biblical Art, New York, NY “Space is the Place: Guillermo Gómez-Peña, David Huffman, Wendy Red Star, and Saya Woolfalk”, Disjecta Contemporary Arts Center, Portland, OR 2012 “At the Edge” (curated by Lawrence Rinder), Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley, Berkeley, CA

“25, Celebrating 25 Years of the Barkley Simpson Award,” Oliver Art Center, California College of the Arts, Oakland, CA “Next Generation, Selections by Artists from the 30 Americans Collection,” Contemporary Wing, Washington D.C. “The Calendar’s Tales: Fantasy, Figuration & Representation” (curated by Lynne Cooney), College of Fine Arts, Boston University, Boston, MA “Variant Visions: The Art of David Huffman and Irving Norman,” Shasta College Art Gallery, Redding, CA 2011 “Bay Area Now 6,” Yerba Buena Center for the Arts, San Francisco, CA

2010 “Opening Show,” Oakland Museum of California, Oakland, CA “A Child’s World” (curated by Stephanie Learmonth), Triton Museum of Art, Santa Clara, CA “Opening Group Show,” Crocker Art Museum, Sacramento, CA “Five Centimeters Short: Bruce Conner, Tracey Emin, David Huffman, Desirée Holman, Erick Bakke,” Rupert Goldsworthy Gallery, Berlin, Germany “A Sense of Place: Location/Inspiration,” de Saisset Museum, Santa Clara University, Santa Clara, CA 2009 “I Do It For My People,” Museum of the African Diaspora, San Francisco, CA “A Universe We Can Believe In,” Oliver Art Center, California College of the Arts, Oakland, CA 2008 “Looking Back,” Patricia Sweetow Gallery, San Francisco, CA 2007 “Passed as Present,” Lodeveans Collection, York Gallery, York Castle Museum, York, United Kingdom “The Fullness of Time,” Luggage Store Gallery, San Francisco, CA “Artists of Invention: A Century of California College of the Arts,” Oakland Museum of California, Oakland, CA “Alien Nation: Laylah Ali, Hamad Butt, Edgar Cleijne, Ellen Gallagher, David Huffman, Hew Locke, Marepe, Henna Nadeem, Kori Newkirk, Yinka Shonibare MBE, Eric Wesley, Mario Ybarra Jr” (curated by John Gill, Jens Hoffmann, Gilane Tawadros), Institute

of Contemporary Arts, London, United Kingdom; traveled to Manchester City Art Gallery, Manchester, United Kingdom; Sainsbury Centre for the Visual Arts, Norwich, United Kingdom 2005 “Artadia Award Recipients,” Wattis Institute for Contemporary Arts, California College of the Arts, San Francisco, CA “Strange Tales,” Luggage Store Gallery, San Francisco, CA 2004 “Black Belt,” Santa Monica Museum of Art, Santa Monica, CA “Black Belt,” The Studio Museum in Harlem, New York, NY “Tribulations,” Patricia Sweetow Gallery, San Francisco, CA 2003 “Holiday Rapture,” Patricia Sweetow Gallery, San Francisco, CA 2002 San Jose Institute of Contemporary Art, San Jose, CA “Retrofuturist” (curated by Berin Golonu), New Langton Arts, San Francisco, CA 2001 “Freestyle,” The Studio Museum in Harlem, New York, NY “Freestyle,” Santa Monica Museum of Art, Santa Monica, CA 2000 “Renditions 2000,” Yerba Buena Center for the Arts, San Francisco, CA “Hybrid,” Southern Exposure, San Francisco, CA “Second Bay Area Now,” Yerba Buena Center for the Arts, San Francisco Heritage Bank, San Jose, CA 1997 “Introducing…,” Patricia Sweetow Gallery, San Francisco, CA “Over, Under, and Around,” Southern Exposure, San Francisco, CA “Social Engagements: Observations and Personal Narratives,” Los Angeles Municipal Art Gallery, Los Angeles, CA 1996 “6th Annual Juried Works by Northern California Artists,” (curated by Thelma Golden), Southern Exposure, San Francisco, CA “Sixth Biennial National Drawing Invitational,” Arkansas Art Center, Little Rock, AR

AWARDS

SELECT COLLECTIONS

2021 Elected Trustee, San Francisco Museum of Modern Art, San Francisco, CA

Arizona State University Art Museum, Arizona State University, Tempe Campus, Tempe, AZ Arkansas Art Center, Little Rock, AR

2020 Jacob Lawrence Award in Art, American Academy of Arts and Letters, New York, NY 2008 Eureka Fellowship, The Fleishhacker Foundation, San Francisco, CA

Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley, Berkeley, CA Birmingham Museum of Art, Birmingham, AL Crocker Art Museum, Sacramento, CA

2005 Artadia Foundation Award, San Francisco, CA Palo Alto Public Arts Commission Award, Bishop Building Mural Project, Palo Alto, CA

de Saisset Museum, Santa Clara University, Santa Clara, CA Embassy of the United States of America, Dakar, Senegal Frederick R. Weisman Art Museum, Minneapolis, MN

1998 Barclay Simpson Award, California College of the Arts & Crafts, Oakland, CA

Los Angeles County Museum of Art, Los Angeles, CA Minneapolis Institute of Art, Minneapolis, MN

SELECT COMMISSIONS

Oakland Museum of California, Oakland, CA

2019 Chase Center and San Francisco Museum of Modern Art (permanent commission), San Francisco, CA 17th & Broadway Apartments (permanent commission), Oakland, CA

Palo Alto Arts Center, Palo Alto, CA San Francisco Arts Commission, San Francisco, CA San Francisco Museum of Modern Art, San Francisco, CA San José Museum of Art, San Jose, CA The Studio Museum in Harlem, New York, NY

Published on the occasion of the exhibition

DAVID HUFFMAN THE AWAKENING

8 September – 15 October 2022 Miles McEnery Gallery 525 West 22nd Street New York NY 10011 tel +1 212 445 0051 www.milesmcenery.com Publication © 2022 Miles McEnery Gallery All rights reserved Essay © 2022 Lawrence Rinder

Director of Publications Anastasija Jevtovic, New York, NY Photography by Francis Baker, Oakland, CA John Wilson White, Oakland, CA Christopher Burke Studio, New York, NY Color separations by Echelon, Los Angeles, CA Catalogue designed by McCall Associates, New York, NY ISBN: 978-1-949327-81-6 Cover: Kemit Soul, (detail), 2022