9 minute read
By Dr. Marrissa Dick
Photos Provided by Suzzanne Snuggs Photography
Do you remember when you took art classes in elementary school or dabbled in art while at your afterschool program? Do you remember making Play-Doh figures and gluing them onto a paper plate, tracing your fingers to form a turkey figure, and then placing different colored pieces of construction paper on them to resemble feathers? Remember rushing home to present your artwork to your parents so they could hang it on the refrigerator with a magnet? Now, parents, tell the truth and shame the devil. Did you ever look at that artwork and ask, “Now baby, what is this supposed to be?” How about the response didn’t match the picture or, better yet, the picture didn’t resemble you? Nonetheless, your child designed and glued that picture just for you, so you hung it up anyway. Now that many of us are parents and grandparents, we most likely have our children’s or grandchildren’s artwork dawning our refrigerators.
Parents, have you ever asked your child how they came up with that design or what they were thinking about when creating their unique art piece? Art is a conceptual idea. It’s an expression of the imagination in a visual form. Some art forms are more intricate than others, such as Batik art. Let me help you connect with this 2000-year-old type of art.
Do you remember melting crayons onto paper and using that melted, colorful wax to create an abstract image? Without your knowledge, you were in the infancy stages of Batik art. It’s one of those artmaking processes requiring much preparation and skill. Batik means wax painting and is a technique of using wax-resist dyeing applied to whole cloth. Batik is made by drawing dots and lines of the resist with a spouted tool called a canting or by printing the resist with a copper stamp called a cap. The applied wax resists dyes, allowing the artisan to color selectively by soaking the muslin cloth in one color, removing the wax with boiling water, and repeating that process if multiple colors are desired. This tradition is cultivated in Indonesia, Singapore, Malaysia, India, Bangladesh, Sri Lanka, and Nigeria. However, the Island of Java, Indonesia, is the most famous country for this type of art. One of the most famous Batik artists lives in Greensboro, North Carolina, and his name is Henry E. Sumpter.
Born in Myrtle Beach, SC, Henry is a Contemporary Batik Painting Master. Those who have viewed his artwork believe he is a hybrid of Picasso, DaVinci, and Raphael. They also believe his talent for creating Batik should have propelled him to greatness long ago, except Henry wasn’t ready to grace the world; instead, he chose to remain in his shell. “I’m a very simple sort of guy. And at 77, I’m still naïve. That’s the thing that helps me to create – my naivete.”
So, where exactly does Henry’s inspiration come from? He says, “God gives me visions in my dreams when it’s time for me to create. I’ll give you one example. One night, I heard this voice talking in my room. When I woke up, I thought it was Satan, so I said Satan, get away from me, and I went back to sleep. When I went back to sleep, I picked back up on the same dream, and here comes this voice again. So, I said, Hey, Satan, you can’t talk to me! This time, the voice spoke back and said This is not Satan; this is God, so I got up and began painting the vision He was showing me in my dream.”
I get up daily, look at the sun, and marvel at how photosynthesis makes the flowers grow. I’ve even asked my doctors why I am still that way, and they just say that it’s a part of my DNA.
As Sumpter grew up, he knew he was different from his peers. At an early age, he could hold conversations with his elders, which is one of the reasons his mother dubbed him with the nickname of ‘Fessor short for professor. Henry recalls, “I was a different type of kid on the beach. At seven and eight years old, I wandered everywhere. I would roam almost three or four miles away from home at night just to get on the Air Force base to speak to the airmen/pilots and get all the information I could from them about their travels, thinking I was a kid on base, they would talk to me. Even during that time, it was really dangerous for me to be alone, but I didn’t have any fear or ever thought about anyone hurting me, especially because I had a big white German Shepherd who would accompany me when I sneaked away from home. I feel like that was God protecting and guiding me. He went everywhere with me; I know now it was God. I’m just as curious now as when I was a child. Sometimes, with a flashlight pressed against my hand at night, I’m still amazed at the bright blood running through my fingers. I get up daily, look at the sun, and marvel at how photosynthesis makes the flowers grow. I’ve even asked my doctors why I am still that way, and they just say that it’s a part of my DNA.”
Another piece of Henry’s DNA is his ability to draw. As a child, he couldn’t draw anything more than stick figures while his family members were able to surpass him. “I couldn’t always draw. It wasn’t until I started working in the country clubs and cleaning floors, and working in white people’s homes cleaning their floors that I could connect the dots. The folk I worked for never understood why I enjoyed doing the floors, but I did that so I could look at the pictures hanging on the walls. I would be working and looking at the details. Even though they thought I was strange because I received enjoyment while hand polishing their floors, nobody would stop a black man from that type of work, especially since I had the best floors wherever I worked. Nobody knew that I was steadily waxing, studying, and developing my technique. When I was 13 years old, I just woke up one morning and could draw, and that’s how that happened.”
Sumpter has a rich history of working as a protégé of some of the greatest contemporary drawing artists, such as Charles Schulz, the creator of Peanuts (Charlie Brown and Snoopy), and Leo Twiggs, a professor at South Carolina State University and Claflin University Alum, and who is also an acclaimed Batik master. Sumpter recalls, “I attended Claflin as a freshman. Professor Twiggs took me over to his place, and I watched him doing this weird stuff with wax and dyes, and I said Sir, who taught you this? He didn’t answer that question; instead, he said Son, you’ll never be able to do this. He said that I wouldn’t have the intellect to do it and that I wouldn’t have the initiative or the desire to do it. He said Batik was beyond me. He should have never said that to me because those words were the impetus that caused me to want to prove him wrong. After that, I began experimenting with the art on my own, and the rest is history. I became enamored with this process; you must understand what the finished painting will look like before you start painting and also understand color.” The process of Batik art is time-consuming. These artists spend countless hours consumed with this craft. Sumpter has attested to working on one piece of art for nine years. Leo is still the best.
One may ask why drawing and painting one picture would take so long. Henry says, “I have some pieces that I’ve worked on for nine or more years perfecting. You see, my artwork is different because I have designed it using a three-D effect. You can see my effect up close, and you can see it just as well far away. For someone working with a hot wax tool, my hand speed is like Mohammad Ali’s. My hand speed is so fast the cameras can’t catch it. This is a time-consuming process where you can lose yourself and lose track of time. The tools needed are a process by itself. First, you have to envision your picture and see the colors. I’ve mastered the capability to make any color on the spectrum to paint. I literally get lost because I become intoxicated with the process from the beginning. I must use the perfect fabric or Muslin, my dyes, brushes, beeswax, hot plate, and pot to melt the wax. I then lay down the fabric, draw my vision, and apply the first wax layer. It’s the wax that provides the resistance. Then, I actually create my own dye colors; then, I have to remove the wax with a hot iron and newspaper. The whole process is very time-consuming, but to me, the days are more like seconds,” he shares.
During the Vietnam War, Henry was drafted into the US Army, where he was assigned to the material performance branch in a craft shop, perfecting his art. After his tour in the Army, Henry began exhibiting his art and winning recognition. Several of his pieces can be found in New York, Atlanta, and London. Often, people are not recognized as great in their hometowns. However, Henry wants his artistry to stand the test of time long after he is gone. He shares, “I want the world to know that I have worked for over 40 years to create a unique body of work that will be awe-inspiring and historical and archival work that will last for about 1,000 years.”
If you want to learn more about Henry E. Sumpter and purchase his works, please visit www.visualdesignsstudio.com
