Detail, Naudline Cluvie Pierre’s work on paper at The Drawing Center. 2023.
Sometimes I wonder why I choose to put myself into uncomfortable situations. From immersing myself in hardcore yeshiva study for ten months, to trekking to Naudline Cluvie Pierre’s exhibition at the Drawing Center in the muggy weather. When it comes to connection to transcendence and the beauty of painting, for me, there is a sense of commitment that overcomes discomfort.
Naudline Cluvie Pierre’s paintings are an unusual fixture in the contemporary art scene: mystical, traditional and deeply personal. I relate to this, and so I intentionally initiated a long conversation with the acclaimed artist; sure, awkward at times, but worth the pilgrimage. Our conversation focused on meaningful imagination. Despite skepticism from a psychoanalytic friend, I believe there’s a larger significance and narrative to life — I believe my interest in this art, this person, this set of aesthetic commitments, or mystical whims, imaginative, dream-like drawing – it all has meaning.
Naudline Cluvie Pierre & Samuel Abelow
The Jewish Man & Haitian Woman
For a moment, I might indulge you in my process of meaning discovery: What is it that draws me to Naudline?
I think about myself, my history; about Naudline, her history. Myself, as a Jewish-American man; her as a Haitian-American woman; the history of my people as long-suffering in exile, often experiencing oppression; the history of her people, in diaspora marked by stark oppression; an archetypal narrative that roots back to the Story of Noah and his three sons. All of this is in the background of a simple interaction between Naudline and myself; we begin as discrete individuals, and while coming together in conversation our histories entangle, and we leave, again, appreciating our distinctiveness.
My background is highly influenced by psychoanalytic though (historically accused of being a “jewish science.” [1] Ironically, it is the work of the Swiss-German-Protestant, C.G. Jung, not Freud, that I find most compelling. His framework regarding Alchemy can be applied to the artistic process. In previous articles, I have often noted that the First Stage of Alchemy is associated with contact with the instincts. (See: Gauguin article; quotes from Edward Edinger, Anatomy of Psyche).
This primary stage is ambiguous, often filled with snakes and alluring images.
“The Alchemist, seeking psychological truth, delves backwards into the primal drives. Edinger writes that in the First Stage of Alchemy, the conscious mind is given over to instinct. This signifies 'the regression of ego to the original ‘autos’ stage of autoerotic desirousness.’ [2]
Naudline Cluvie Peirre’s mysticism seems to be held up in this initial stage. She contacts in her inner world: it is glorious, glamorous, radiant, and in that sense quasi-religious, entirely introspective and, of course, erotic.
Installation of large work on paper, by Naudline Cluvie Pierre at The Drawing Center, NYC. 2023.
💎 Many of the works represent highly enigmatic interchanges between version of the artist: as head-with-serpent-body, as head-with-wings, or just a head. The encounters seem to lack any emotional charge; the faces have that somewhat severe, somewhat blasé look that I associate with a Hollywood model or pop star.
The compositions are intricate, harmonious and reminiscent of murals that decorate the ceilings of the Louvré. The works at the Drawing Center often featured use of cloudy washes of watercolor as backgrounds, with pastel and chalk sketches that render faces, sketchley and yet with some realism. In other pieces, use of a negative space, wherein a matted black inlay reveals a face, which is delicately brushed to indicate eyes, nose, mouth. Naudline chose to enhance the chamber-like experience of the small size room with black walls, by having spotlights on her paper works, which is especially dramatic.
Most of the works in this show emphasis on the face. This thematic tendency diminishes the erotic aspect of her content. The overall attenuation of sexuality in Naudline’s mystical rendering of “other worlds” – even when displaying nude figures – may express a conscious attitude of the artist: she is after an investigation of self, rather than simply the endless desires one stumbles into when initially discovering the inner world. I say this because, without a conscious attitude, this fiery realm of the imagination is usually quite sexual, while her work is markedly spiritual. C.G. Jung would point out that the sexual and the spiritual are like two snakes, one eating the other; and Jewish mysticism would harp on the same symbol. I wonder if her representations of serpents, feminine heads, wings and so on, represent a genuine experience of the spiritual and sexual as empowering one another, or (as is my hunch), an attempt to render a imaginative world that is highly spiritual, mysterious and nourishes a sense of that “I am transcendent”, “able to ascend,” and “free.”
ENCOUNTERING NAUDLINE
I had already toured the gallery once, and had stepped out for air, and to greet my friend who was arriving, when I saw Naudline pull up and emerge from a car. As the artist stepped up onto the curb, I noticed her futuristic sunglasses. I said, “Hello Naudline,” and then proceeded to explain that I was also an artist, who found inspiration in her work. Her influences, which I see as connected to Renaissance art – like Da Vinci – William Blake, as well as Henri Matisse, and more recently Chris Ofili. Naudline acknowledged these influences, with a light smirk. I regret having forgotten to mention my in-depth study of the landmark exhibition Black Models, which I saw at both Columbia University, as well as in Paris, and which I know is important to Naudline.
“Self Portrait, Between Two Temples.” Samuel Abelow. 2022.
However, Naudline was enthusiastic about the following story: about a year ago, I hesitant to paint a certain self portrait which was highly mystical and personal; when I saw a video showcase of her work by James Cohan gallery and seeing her own self-portraiture, with obscure mystical ideas, and the success she had with it, well that encouraged me to complete the painting! She responded that the focus on the self is actually valuable to others! I said, that the highly personal is universal; that lo and behold, many people have given me positive responses on that work, and I’ve had inquiries regarding a buyer. Naudline graciously congratulated me, while I noted that it was her who deserved the congratulations, both for her recognition at the recent Frieze Art Fair, and for this solo exhibit at the Drawing Center.
I urged Naudline to continue on, and she extended her hand and thanked me for the conversation. I held back my hand and gently, yet directly explained that I was Jewish, and don’t — She exclaimed that she had heard of this! – right! I said, it’s out of respect.
At that moment I was aware of her as a woman, as an artist I respected, and myself as a Jewish man, who follows the Torah – which instructs us not to touch women (who are not one’s wife or mother). That moment felt important to me; I was embodying the traditions of my people, I was acting in the way that my spiritual connection commands me; and surrounding that moment was a sense of respect and acknowledgement of the other. I saw Naudine saunter off happily to her group of artistic friends, many of them people of color, in similar, futuristic clothing as herself. Their braids and edges on point, the muggy weather seemingly having no effect on their style.
ON THE OTHER SIDE
Within the back gallery of the Drawing Center, I toured Naudline’s intimate watercolors once more. My one friend left, and another arrived. And we discussed psychoanalysis, and toured the galleries. I circled round and met with Naudline again. We had a lengthy discussion about her work, process, themes, relationship to symbols, interpretation,
For example, when I asked about the religious imagery that appears in her work – possibly, cherubs, or other angelic beings – she said she grew up in a Christian context, but chooses to reject any specific religious framework. In regard to the serpents, I asked if she ever read C.G. Jung, and she mentioned that although having studied philosophy and such in her MFA studies, that she doesn’t read or seek to understand her imagery currently. Rather, she chooses to just let her past and present flow into the work without a filter.
Despite preferring not to analyze her work herself, she did say that specifically in regard to the serpent she’s aware that it has various significances in different myths and religions. She mentioned that it sometimes symbolizes sublimation (as in Yoga), sometimes a wily evil (Christianity), and she found that vastness compelling.
Naudline and I also spoke about the way the flames have become so central. She said that fire is highly symbolic of transformation. I noted that it burns down, it purifies — she said, it burns to rebuild! — I contrasted this with something the head of my yeshiva often says: fire also burns upwards to the heavens. Naudline nodded in agreement.
Naudeline’s presence is dreamy and yet intense. Her eyes, especially in coordination with an unusual metal necklace, dare I say, remind me of the trance-like state of a Haitian voodoo practitioner. Her intelligence and calmness are evident. The fashion sensibility of the artist is prominent: I might describe her style as a mixture between gothic and witch-like, while also somewhat high-end hip-hop. While confident she is readily an introvert, and yet her magnetic individuality is clearly seen by others. The audience claims this creative self as their own, emulating her style. Yes, I saw other witchy women there; fashion-forward gothic style; and also celebratory Black American style – personalities shining in their uniqueness.
My friends ask me what I see in this artist: what’s the point? I think Naudline’s impact – much like culture in general – is about identity expression. The artist pioneers; audience sees; a new type of individuality is affirmed.
For me, there is an awareness with encountering an opposite, which is also layered with interconnected meaning. My manager pointed out that in the picture of Naudline and myself in the gallery, we are like color mirrors; my pale skin and black suit; her darker skin and white clothing. Our ethnic histories are also mirrors and entanglements: from Ham and Shem (the sons of Noah), to the encounter between Solomon and Sheba (which plays into the Song of Songs, and is the source of much of European Alchemy, which C.G. Jung riffs on endlessly in his masterpiece, Mysterium Coniunctionis); the history of distinct, yet overlapping diaspora (jewish, african); as well as the personal; my Caribbean nannies; the fact that her Christian-Hatian influenced imagery is largely from the Jewish bible (Seraphim, etc).
So, although one main take-away I see from Naudline’s efforts is that her activity as an artist – painting mystical self portraits – renders her particular identity available to the public. And this impact is evident, when in that back gallery at the Drawing Center, I saw many women with braids, flourished or unusual dressing, identifying themselves in the art. In other words, the blackness of her self portraiture is mirrored in her audiences. The hues of her attendees isn’t merely an anecdote — it represents a flourishing participation within the art world.
The other take-away is that my interest in her represents a complex interweaving of histories, which magnify even the most limited (if awkward) interactions. And in that peculiar experience of the art opening – stuffy, a bit forced, a couple introverts trying to communicate – there is a mutual respect for our unique lives. It is utterly cosmic; it is highly personal.
Footnotes:
1: For example, see: Jewishness and psychoanalysis - the relationship to identity, trauma and exile. An interview study. Per Magnus Johansson ORCID Icon & Elisabeth Punzi https://www.tandfonline.com/doi/full/10.1080/1462169X.2019.1574429
Historical response to Freud:
Source: “From its inception, Freud's psychoanalysis was accused of being a “Jewish science,” and he countered by including non-Jewish Swiss psychiatrists in his movement.” The Parting of the Ways: How Esoteric Judaism and Christianity Influenced the Psychoanalytic Theories of Sigmund Freud and Carl Jung
Source:
“Freud stated that only Jung's presence had saved psychoanalysis from becoming a Jewish national affair.” Freud’s Jewish Identity and Psychoanalysis as a Science. https://journals.sagepub.com/doi/10.1177/0003065114559835
2: Edward Edinger, Anatomy of Psyche: Alchemical Symbolism in Psychotherapy, pages 18 - 22 (Open Court Publishing Company; 3rd Edition, 1991