Calida Rawles: Away with the Tides / Pérez Art Museum Miami

Away with the Tides is the first solo exhibition at a museum by artist Calida Rawles. In this exhibition, Rawles has created ten unique paintings that represent both residents of the Miami neighborhood Overtown and its history. On view is also a video installation that Calida Rawles created in collaboration with documentary filmmaker Laura Brownson.

Calida Rawles: Away with the Tides / Pérez Art Museum Miami. December 6, 2024

— Right-click (Mac: ctrl-click) this link to download Quicktime video file.

Exhibition text (excerpt):

Away with the Tides is the first solo exhibition at a museum by artist Calida Rawles. In this exhibition, Rawles has created ten unique paintings that represent both residents of Overtown and its history.

Calida Rawles envisions water as a space for Black healing and reimagines the African American community beyond the stories we already know as a part of the United States’ collective history. Merging hyperrealism, poetic abstraction, and the cultural and historical symbolisms of water, Rawles creates unique portraits of Black bodies submerged in and interacting with bright and mysterious bodies of water. The water, itself a sort of character within the paintings, functions as an element that signifies both physical and spiritual healing, as well as historical trauma and racial exclusion. For her first museum solo presentation, Rawles creates a bridge between her signature style and a story within Miami’s history that is often ignored and obscured.

Rawles delves into the particular experience of Black people in Overtown, a Miami neighborhood that went from a thriving cultural and commercial hub for Black people to a community dismantled by gentrification, systemic racism, and mass displacement. The figures in Rawles’s paintings are residents of the Overtown community—from young children to senior citizens. The exhibition’s focus is on the stories and experiences of those who live in this historic neighborhood. Rawles takes her practice a step further by photographing some of her subjects in natural waters for the very first time, at the historic Virginia Key Beach, which was once racially segregated. By photographing Black subjects in the ocean for the first time, Rawles is able to probe the Atlantic’s history as the site of the supremely exploitative transatlantic slave trade. The finished work critically engages with Miami’s water-entwined climate and mines the history of beauty, oppression, and resilience in PAMM’s neighboring community of Overtown.