Buy this shirt: https://cllm-store.com/product/be-strong-be-brave-be-humble-be-badass-shirt-2/
Cllm-store – A woman cannot survive on self quarantine alone she also needs a pitbull shirt
Cllm-store – Commemorative joe biden & kamala harris inauguration day 01-20-2021 shirt
Cllm-store – Excuse me I’m speaking kamala harris us 2021 shirt
Cllm-store – Be strong be brave be humble be badass shirt
Cllm-store – And into the ocean I go to lose my mind and find my soul vintage shirt
Cllm-store – Born to farm forced to go to school vintage shirt
Cllm-store – Bills girl classy sassy and a bit smart assy vintage shirt
Cllm-store – George Gervin hof 1996 San Antonio Spurs shirt
Cllm-store – Futuro papa loading shirt
Cllm-store – Gay Pride Flag Pug Lgbt Pride shirt
Cllm-store – Happy my 25th birthday the one where I was quarantined 2021 shirt
Cllm-store – And into the lose my mind and find my soul vintage shirt
Gates’s latest “roofing works,” or “tar paintings,” are another highlight; here, his obsessions with objects and spaces are quite literally collapsed together in a layered collage of torch down and other old roofing materials. Those materials, stripped from the Be strong be brave be humble be badass shirt and I will buy this buildings he’s bought and rehabilitated in Chicago, are some 60–70 years old—the same stuff that his father would have used.
Gates’s process isn’t unlike upcycling in fashion (“I’m transferring what would be wasted material into my raw material,” he says), with a mind to what stories the Be strong be brave be humble be badass shirt and I will buy this old fabrics hold. “This is Black space with guns and no jobs,” he says of the run-down neighborhoods where he’s purchased property. “This is Black space with closed and failed schools. And so I almost feel like I had to fragment Black space in order for people to see the beauty, and then re-stitch it,” he says. In the resulting “paintings”—weighty, textured works that visually recall the canvases of Barnett Newman and Mark Rothko—Black histories and labor meet the codes of abstract art. “It’s like, what if we were to take the best of knowledge production and you sew that in, or you take the best of conceptual art practices and you weave that back into a Black identity, or you take the best of Japanese craft and you weave that into African ideology.” (On the topic of Japanese influence, Neri points out the certain wabi-sabi-ness of the tar paintings, as well as of Gates’s clay vessels.) To stitch and layer is to tell, in a way, the complicated story of the Black experience: “I feel like the work fragments as a form of survival,” Gates says.
Home: https://cllm-store.com/