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| William Rhodes' career encompasses more than 30 years of art making along with a deep history of community engagement. In considering the arc of his work over time, one can readily recognize the intertwining ideas evident in his various creative pursuits; the legacies of African culture, the enduring impact of enforced migration through enslavement, the value of generational experience and the importance of creating community in the face of tremendous challenges, all while reaching toward a hopeful future. This exhibition showcases these throughlines in work crafted variously from found objects, carved wood, neon, thread, graphite, paint, and fabric, resonating with stories of resilience and connection.
Eleven of the works on view include Rhodes' hand carved elements, typically framing various found pieces, many with drawings, and most combined with neon. Through the repurposing of found objects, we see the reclamation of materials that, once marginalized, are transformed into symbols of strength and continuity. The carved wood, illuminated by neon, bridges the past with the present—where traditional craftsmanship meets contemporary expression, drawing a connection between generations. African references may be found, such as the Chiwara, a mythical animal that brings good to luck to crops and the harvest, or an Ibeji, a Yoruban spiritual deity tasked with protecting twins. Repeated motifs of carved pregnant figures signify giving birth to an idea or belief. Houses, flames and thread carry their own weight and meaning.
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| Flanked by the neon and wood pieces are a selection of Rhodes' recent quilts. At the center of each is a powerful image, a call to solidarity in facing the pain and grief of poverty, desperation, and injustice. Two of the quilts were created in collaboration with Emory Douglas, the former Black Panther Minister of Culture, and two reference The Black Times, a magazine with an East Coast circulation published by Rhodes' father from 1968 to 1978. The magazine featured articles on Civil Rights activists and other Black heroes at a time their experience was largely minimized or excluded from mainstream publications. These iconic images preserve and solidify a determination to continue the quest to address injustice and inequity, despite dispiriting setbacks and all-to-frequent incidents of brutality and death. Encircling the center panels are Rhodes' hand painted portraits of members of the community he serves as Intergenerational Community Arts Program Director at Bayview Services in San Francisco. In placing these portraits of everyday people on the same plane as powerful historical imagery, Rhodes draws attention to the value of each person, regardless of their fame or status.
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| Also on exhibition are a selection of threaded drawings from Rhodes' ongoing Outmigration Series of portraits. Reliably strong red thread is a defining element of these works. Inherited from his grandmother, the thread is heavy and durable, conveying a link of strength from generation to generation as does the sewing stitch she taught him. Rhodes honors the leaders and beacons in his life in these embellished graphite drawings, from widely recognized Diana Ross to neighbors, family members and others who inspired him along the way.
In total, Rhodes' exhibition is a compelling reflection on struggle, survival, and the collective value and strength of communities. It is a visual representation of the transformative power of art in the face of adversity, and an affirmation that, while the challenges may be great, the spirit of resistance and the drive for social change endure. His work speaks to the universal human experience, inviting us to reflect on our shared histories while inspiring hope for a more just and compassionate future. Through his multifaceted approach to storytelling—whether through wood, thread, or fabric—Rhodes invites us to witness the stories that define us and encourages us to be active participants in the ongoing narrative of change.
Together these artworks form a visual representation of the transformative power of art in the face of adversity, and an affirmation that, while the challenges may be great, the spirit of resistance and the drive for social change endure. This work speaks not only to and about a particular community but also to the universal human experience, inviting us to reflect on our shared histories while inspiring hope for a more just and compassionate future, throughlines that can speak to us all.
TaVee Lee, curator
courtesy of Transmission Gallery
Based in San Francisco William Rhodes began his sculptural practice on the East Coast, where he studied sculpture and furniture design at the Baltimore School of Fine Arts and the University of the Arts in Philadelphia. He later obtained his MFA from the University of Massachusetts Dartmouth. Rhodes is one of the co-founders of the 3.9 Art Collective, a Black art collective in San Francisco formed in 2011 in response to the declining Black population in the city.
Sanchez Art Center is located at 1220 Linda Mar Blvd in Pacifica, about a mile east of Highway 1. Following opening night, the galleries are open Friday, Saturday, and Sunday, 1–5 pm, and by appointment, through March 23.
The opening, talks, and gallery visits are free as part of the Center's focus on "Creating Community through Art".
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Upcoming
Exhibitions: Click here to
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