Rendered in a rainbow of vibrant colors, Clarity Haynes’s portrayals of queer, heavy, and disabled bodies reimagines the white box as a communal space that allows for the possibility of healing.
Clarity Haynes doesn’t give us a face to look at, forcing the eye to find hints of identity in a bitten thumbnail, a tattoo, or a piece of jewelry.
The exhibition at Invisible Exports, Cheap Suitcase, reflects on how the body is a record of a singular life, but also a random palimpsest of whatever genetic heritage one has.
2015 was the Year of the Whitney.
It may be a stretch to say that portraiture is in the air — given that there are all of two exhibitions devoted to it in New York City right now, one in Manhattan and one in Brooklyn — but their confluence can feel like the kind of Marxian (Groucho, not Karl) charge you get from watching a tradition-bound idiom seize up and explode.
As long as I can remember, I’ve organized and been involved in artist groups and collectives.