NYU Black Renaissance Noire Fall 2015 Volume 15.2 - Page 121

Peter Wayne Lewis introduces a rupture with the traditional sense of ideal visibility in Western philosophy. This brutal separation from the traditional sketches the frame for perception of the almost invisible which guaranties “its permanence in the memories”. Through these gestures, Wayne Lewis organizes the improbable meeting of graphic practice and its others: the vacuum, whiteness and obstruction of the perceptible. n 1 Ngũgĩ wa Thiongo. Globalectics: Theory and the Politics of Knowing, Columbia University Press, New York, New York, 2012. 2 Sylvia Wynter. ‘Rethinking Aesthetics: Notes Towards A Deciphering Practice’ in Ex-Iles: Essays on Caribbean Cinema, Mbaye Cham ed. Africa World Press Trenton, New Jersey, 1992. 3 A Baker, Houston, Jr., There Is No More Beautiful Way: Theory and the poetics of Afro-American Women Writing in Afro-American Literary Study in the 1990s ed. Houston A. Baker, Jr. and Patricia Redmond, Chicago University Press, 1989. 4 Thierry Davila. In Extremis. Essais sur l’art et ses déterritorialisations depuis 1960, La Lettre volée, 2010 5 C. Lévi-Strauss. La Pensée sauvage, Paris, Plon, 1962 6 Giorgio Agamben. Image et Mémoire (Image and Memory), Paris, DDB, 2004 7 Jacques Derrida. Mémoire d’aveugle, L’autoportrait et autres ruines, Paris RMN, 1990 BLACK RENAISSANCE NOIRE Paintings from Middle Earth is the story of the vagabond traces that an artistic world in constant movement manifests. These works, in which vibrant scarifications resonate as an invitation to discovery, are not only opportunities for interrogating the powers of transformation and transmission by an artist but also the vitality of forms and their pathway to resist oblivion. By accomplishing a duty of tacit memory, Peter Wayne Lewis marks out beyond words, the journey of a thousand paths of a creativity which repeats to renew itself. As a builder of bridges in this universe of ephemerous transactions, Wayne Lewis confronts the era to characterize an ensemble of gestures that is after all a circulatory system, a mechanism that escapes static thought. Claiming synthesis, Wayne Lewis develops three strategies: to do away with style (the general notion of art) for the profit of facture (a singular way of producing these works), and introducing an anti-artistic element which foils pictorial conventions and other inventions to produce visual chaos. His process is really a work of fogging which he undertakes in a manner similar to the concept of “de-creation” of Giorgio Agamben.6 By erasing the form so that the trace that constitutes the work appears, Wayne Lewis only repeats an ancient gesture of valorization of the interior drawing. This indistinct depth, because erased, frenetically disappeared, which gives the figure to sight, participates in a practice of a “blind drawing” as Derrida describes it.7 Wayne Lewis lets the unpredictable energy deploy in one stroke without knowing toward what this graphic rush leads to. 119 Equally paradoxical, the third characteristic of Beijing Booster is the claim of an art deprived of thickness or playing on the mirror effects in which the work is in a way only a kind of pure exteriority. Finally, the task of emptying rendered visually and physically acting constitutes the last characteristics of Beijing Booster. Peter Wayne Lewis thus paints, in reverse, a fragile space which, if not inhabited, signals tension between the real and the material, between the possible occupation and the absence of incarnated volumes. This progressive form suggests a movement of investment parallel to Thierry Davila’s rupture with thought of the gratuity of an art that pretends to refer only to itself,4 to re-link with a conception of the work as object of knowledge half way between scientific and magical thought, a “ bricolage” according to Levi-Strauss’ interpretation.5