The Invisible Artist: An Interview with Storyboard Artist Elizabeth Colomba
The content and countenance of my painting are intentionally classical, but their participants are not. It is the imaginary fruit of two tribes’ encounter, the reconciliation of two ethnic groups through art, by means of myths, religious iconography and folklore. Representing traditional figures as black allows me to address an inspirational universal message from Africa, and by extension, from everyone of African descent. I manifest my will and hope for inventing a fraternal world. Black people are an integrant part of History and, undoubtedly, play a decisive role; however, they were essentially profiled, in the pictorial world before the 20th century, as anonymous subject studies. Their status, at the time, could not dictate any other depiction, therefore their place in the Oeuvre was secondary. The heirs of the African continent will find a prestigious, illustrious and dignifying imagery in my work, a portrayal that crosses racial lines. It’s a setting in which each community could expect a mutual respect, and coexist in a world where the color of their skin will hold no more significance than their height. Artists such as Picasso or Braque knew how to insert black art into the Occidental world. I would like to insert black people into Western art.(Source)
Thanks to cleojones for the heads up on Colomba.