This morning, Lightburn shared the stage with Yasser Musa. He’s
observing his twentieth year of being an artist. In those two decades he’s
done it all, from the not so sublime to the ridiculous, creating expansive abstract
canvasses in one era and dunking bratz dolls into condensed milk in the next.
It has been a wild ride and he’s pulled up some highlights from a retrospective
at his gallery space, the Image Factory.
Yasser Musa, Artist
“I know realize that instead of looking at the art that I’ve made,
the biggest emotional idea that comes forward is the idea of collaboration,
the many collaborations that I have had whether it was with Ivan Duran in 1992
or Jules in 1996 or Joan Duran starting well for many years but really in 2000
the Zero Exhibits and then the Landings Project and working with Miss Meg and
Father Diekman and so many others; with Gilvano and Michael Gordon, and the
whole Factory culture. I realize that this colloboroation spirit is what really
guided my work and what really informed the work in terms of how it presented
itself to the public.
The idea though is that you can’t just look back because how do you
compress 20 years of your life in two rooms. It is impossible so we’ve
had to edit out a lot of things but focus really on 45 key works involving paintings,
drawings, collages, video, installations like the one behind me here. But also
to do new things and so we are also going to present a set of recorded poems
called Loose Electricity.
From 1992 with the minus 8 exhibit, I made a principle position or I declared
a position that the consensus or the tradition of how Belize presented art or
viewed art was really a very narrow consensus and so obviously that was proven
even greater to me when all things like the internet and DVDs and Facebook and
all of these things came out. These things in 1992 didn’t exist. It is
just proves that technology moves so fast that the artist cannot be straitjacketed,
cannot be limited to one medium.”
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