An image posted to Alex Gardner’s Instagram page in January rendered three coal-black bodies against rich equatorial tones: deep turquoise gave way to a mellow sea green and a soft white base, which served as the foundation on which the figures were propped. At first glance, the painting—like the majority of Gardner’s work—exuded a meditative calm. Taken in full, the illustration conjured an ambiguous and much larger proposition on intimacy, movement, and space. Were these figures attempting to move through each other? Was the sitting woman reaching for help or offering it? Were the two standing figures in a state of embrace or quarrel? Were all three figures working in unison or against one another? Were they a family? One final thought flickered in my head: given that these decidedly black bodies sat atop a paradisal background, was Gardner offering commentary on the ever-fluctuating position of black Americans caught in the throes of history?.https://artsorigin.com/wp-content/uploads/2019/07/pexels-photo-5435377-e1631796790517.jpeg
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