LEASHO JOHNSON
Man Standing In The Cane Fields
Man Standing In A Cane Field
Leasho Johnson
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the artist's inspiration
What is Emancipation? How do people who are oppressed survive? How do we cope? How do we thrive? What is the moment, the state, the journey of metamorphosis – of transformation – that we have to experience as people and communities to be free and to flourish?
Those are the questions that I explore with Man Standing In The Cane Fields. It is a journey across three states of becoming, reflected in three abstracted portraits of flowing energy, colours and your imagination.
The portraits show the journey of a silhouette transforming amidst the cane fields – a setting of real meaning to me. I grew up in Westmoreland, Jamaica – a rural part of the country known for white sandy beaches and expansive sugar cane fields. I feel deeply connected to this region as my grandmother worked in these fields. I never saw her do it, but we are left with the echoes as we think of the countless souls bound to the crop, labouring in the blackened stalks, their bodies as property of industry. The cane fields speak to the physical reality of my ancestors, as well as the reality I’ve experienced as a black queer man, shaped by stereotypes and prejudices that endure with real life consequences.
CAPITOL PARK, detroit
june 2024
The first portrait is Man Standing In The Cane Fields, in which the silhouette is surrounded and almost overcome by the sugar cane. It is man, but not quite man belonging to himself – the body is a property of industry.
The upright position speaks to a moment of contemplation and consciousness of our own self-worth that sparks awareness of and desire for self-realisation and to live a life of dignity.
The second portrait is Emerging From The Cane Fields, in which he is leaving but tied to it. Even in looking back, he’s still carrying that history with him. It speaks to the journey of transformation that is never immediate – it is an emergence. It is processing and facing the past, in order to move forward.
This leads us to the final portrait: Jaw-bone (Man Looking Back at the Cane Fields). This portrait – and its title – is inspired by the iconic dancehall artist King Yellowman. He is someone who faced different stigmas growing up – being poor and albinism – and a lot of challenges later in life, including a cancer that forced life-saving but disfiguring surgeries, which included the removal of a big part of his jaw. And yet I see him as someone that erupts with inner value and strength that you experience in how his music creates space for joy, irreverence and the awakening of our bodies – for people to become something more than they are. For me, he is the embodiment of our ability as people to transcend what the stereotypes and current realities expect of us, rooted in our dignity and self-worth.
It is emancipation as an ongoing, never-ending opportunity.
I hope your journey around this sculpture encourages you to consider other ways to see yourself and others, to go beyond the surface – where there is always something deeper, and it is wonderful.
THEME
EMANCIPATION – ABOLITION IN THE AMERICAS
Emancipation examines this key chapter in global history – it was progress, but it was messy – full of complicated motivations, realities and repercussions. Abolition in the Americas honours the successful campaigns – and all who contributed to them – for abolition and emancipation in the Caribbean, South America and across the Atlantic.
THEME
EMANCIPATION – ABOLITION IN THE AMERICAS
Emancipation examines this key chapter in global history – it was progress, but it was messy – full of complicated motivations, realities and repercussions. Abolition in the Americas honours the successful campaigns – and all who contributed to them – for abolition and emancipation in the Caribbean, South America and across the Atlantic.
What is Emancipation? How do people who are oppressed survive? How do we cope? How do we thrive? What is the moment, the state, the journey of metamorphosis – of transformation – that we have to experience as people and communities to be free and to flourish?
Those are the questions that I explore with Man Standing In The Cane Fields. It is a journey across three states of becoming, reflected in three abstracted portraits of flowing energy, colours and your imagination.
LEASHO JOHNSON
Leasho was born in Montego Bay, Jamaica on December 5, 1984. He graduated from the Edna Manley School of the Visual and Performing Arts in 2009 with a degree in Visual Communication. Social commentary is an integral part of his work. He believes the contradictions encountered while living in Jamaica need to be highlighted and explored. He immortalises the dynamic energy of dancehall and engages with Black stereotypes and spectrums as expressed in Caribbean cultural practice, working to break down contentious, often disturbing issues in ways that make them more manageable for people to engage with. Leasho’s work is held in the permanent collection of the National Gallery of Jamaica and he is a recipient of the prestigious New Artist Society scholarship from the School of Art Institute Chicago, where he now lectures. He is also a member of the Caribbean Art Initiative and founding member of the group Dirty Crayons.
Let's make our shared ideals a reality. For everyone.
The portraits show the journey of a silhouette transforming amidst the cane fields – a setting of real meaning to me. I grew up in Westmoreland, Jamaica – a rural part of the country known for white sandy beaches and expansive sugar cane fields. I feel deeply connected to this region as my grandmother worked in these fields. I never saw her do it, but we are left with the echoes as we think of the countless souls bound to the crop, labouring in the blackened stalks, their bodies as property of industry. The cane fields speak to the physical reality of my ancestors, as well as the reality I’ve experienced as a black queer man, shaped by stereotypes and prejudices that endure with real life consequences.
The first portrait is Man Standing In The Cane Fields, in which the silhouette is surrounded and almost overcome by the sugar cane. It is man, but not quite man belonging to himself – the body is a property of industry.
The upright position speaks to a moment of contemplation and consciousness of our own self-worth that sparks awareness of and desire for self-realisation and to live a life of dignity.
The second portrait is Emerging From The Cane Fields, in which he is leaving but tied to it. Even in looking back, he’s still carrying that history with him. It speaks to the journey of transformation that is never immediate – it is an emergence. It is processing and facing the past, in order to move forward.
This leads us to the final portrait: Jaw-bone (Man Looking Back at the Cane Fields). This portrait – and its title – is inspired by the iconic dancehall artist King Yellowman. He is someone who faced different stigmas growing up – being poor and albinism – and a lot of challenges later in life, including a cancer that forced life-saving but disfiguring surgeries, which included the removal of a big part of his jaw. And yet I see him as someone that erupts with inner value and strength that you experience in how his music creates space for joy, irreverence and the awakening of our bodies – for people to become something more than they are. For me, he is the embodiment of our ability as people to transcend what the stereotypes and current realities expect of us, rooted in our dignity and self-worth.
It is emancipation as an ongoing, never-ending opportunity.
I hope your journey around this sculpture encourages you to consider other ways to see yourself and others, to go beyond the surface – where there is always something deeper, and it is wonderful.
explore the theme
Let's make our shared ideals a reality. For everyone.
leasho johnson
Leasho Johnson was born in Montego Bay, Jamaica on December 5, 1984. He graduated from the Edna Manley School of the Visual and Performing Arts in 2009 with a degree in Visual Communication. Social commentary is an integral part of his work. He believes the contradictions encountered while living in Jamaica need to be highlighted and explored. He immortalises the dynamic energy of dancehall and engages with Black stereotypes and spectrums as expressed in Caribbean cultural practice, working to break down contentious, often disturbing issues in ways that make them more manageable for people to engage with. Leasho’s work is held in the permanent collection of the National Gallery of Jamaica and he is a recipient of the prestigious New Artist Society scholarship from the School of Art Institute Chicago, where he now lectures. He is also a member of the Caribbean Art Initiative and founding member of the group Dirty Crayons.
explore the theme
For everyone. For you. By all of us. Join us.
For everyone. For you.
By all of us. Join us.
PURPOSE
in our relationship with ourselves.
WORTHINESS
I am worthy of love dignity and respect.
AWARENESS
I know how I see the world and where it comes from.
BELIEF
I believe I have something valuable to offer.
PURPOSE
I know what inspires me and what I want to do.