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VERSUS: Portraits of Pain, Power, and Beauty
FOREWORD BY WILSON ORYEMA
INTRODUCTION BY LINX SELBY
“VERSUS is us, and we are redefining the Canadian imaginary. VERSUS is an intervention in hegemonic iconography, as Amna appropriates the traditionally stern, classical art form of the portrait and elevates it with the liveliness of faces of Canadian people of color. Portraits, originally intended as documents or visual records, quickly morphed to flatter the “power, importance, virtue, beauty, wealth, taste, learning or other qualities of the sitter,” according to the Tate Museum’s online glossary. Amna’s portraits do the same, not only documenting the very existence of Canadian people of color, but imbuing them with grace, poise, and ease ... The subjects in VERSUS show us that people of color have a place in the Canadian imaginary and, beyond that, grant us the permission to be beautiful and to thrive.”
— Linx Selby
INTRODUCTION BY LINX SELBY
“VERSUS is us, and we are redefining the Canadian imaginary. VERSUS is an intervention in hegemonic iconography, as Amna appropriates the traditionally stern, classical art form of the portrait and elevates it with the liveliness of faces of Canadian people of color. Portraits, originally intended as documents or visual records, quickly morphed to flatter the “power, importance, virtue, beauty, wealth, taste, learning or other qualities of the sitter,” according to the Tate Museum’s online glossary. Amna’s portraits do the same, not only documenting the very existence of Canadian people of color, but imbuing them with grace, poise, and ease ... The subjects in VERSUS show us that people of color have a place in the Canadian imaginary and, beyond that, grant us the permission to be beautiful and to thrive.”
— Linx Selby
Paperback
Published November 27, 2019
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