Introspection as a Path Toward Healing: Senghor Reid's Shadowboxing // Essay by Juana Williams
Introspection as a Path Toward Healing
Essay by Juana Williams, visual arts curator and writer , 2021
SHADOWBOXING is a multimedia exhibition of two-dimensional work that reflects the internal battles Detroit artist Senghor Reid has dealt with during the past year. Shadowboxing is a physical exercise to strengthen the muscles and reflexes before engaging in combat sports. Similarly, psychological shadow boxing refers to a process of internal exercises, focusing intently on personal observation, heightening critical awareness, and healing. Through shadow work, individuals bring forth elements of themselves that have been hidden, ultimately integrating all parts of the whole being. With SHADOWBOXING, Reid is portraying the process of lovingly tending to the aspects of himself that need attention, through exploration, acknowledgment, and acceptance. He is providing a very vulnerable perspective of himself and his life through the visual language of the artwork. Each work reflects a part of the process, such as the role of memory, components of shadow boxing, and specific emotions he experienced.
For several years previous to last year, Reid focused his practice on understanding his personal health, as well as the health of his community. He became acutely aware of the necessity of water with regards to physical health and his artwork reflected his interest in recognizing the importance of a focus on physical health. At the beginning of last year, Reid experienced a significant life-altering revelation. This experience is resulting in his previous interest in physical health transforming into a more serious focus on his overall health and well-being. Coupled with the forced stagnation caused by the pandemic, Reid is able to truly focus internally. With this new slower reality, he is making more of an effort to reflect on his life and day-to-day experiences, delving deeply into a period of self-examination. Creating artwork is a significant aspect of the process.
A Thin Red Line is a grouping of small-scale self-portraits to emphasize specific emotions Reid is experiencing throughout this process. The number of works within the series is indicative of the range of emotions experienced during shadow boxing and the simplicity of the backgrounds encourages viewers to contemplate the complexity of each specific emotion individually. A Thin Red Line creates a foundation for the more elaborate series, Army of Shadows, which closely examines three stages of shadow boxing – awareness, forgiveness, and integration. “Army of Shadows #1” is a depiction of Reid in an introspective pose with an open pop-up book. The book reveals a face with the flesh torn away as a metaphor for the peeling back of layers that Reid is experiencing. He is closely examining himself beyond the surface layers, focusing specifically on remembering his triggers and the ways he’s felt broken. In “Army of Shadows #2”, Reid is humbling himself, recognizing his imperfections, and working toward accepting his whole self in an effort toward healing and reconciliation. “Army of Shadows #3” is the most visually complex work in the series and brings together all of the ideas from the previous two works. Through shadow boxing, Reid is taking a close analysis of himself and integrating all he’s learning and experiencing into a more conscious version of himself.
The exhibition predominantly consists of self-portraits, yet a few of the works relate to Reid in a less visually explicit way. “Knife in the Water” depicts a woman wading through water as an onlooker yells toward her, attempting to grab her attention. Although the woman appears to be carefree, the title alludes to the potential unseen dangers in the water. The painting is a metaphor for experiences where individuals may miss signals of inherent danger or even ignore warnings of potential danger. “Knife in the Water” relates to Reid’s questioning of what signs he may have missed in previous encounters, ultimately resulting in unpleasant experiences. Two other works in the exhibition that are not self-portraits bring forth an idea of self-examination through recollection. “The Ruling Class: Shirley Woodson” and “Edsel Reid - Autumn Sonata” are depictions of Reid’s mother and father, respectively. During his process of reflection, he is reminded of his connections to his parents and the meaning that lineage and ancestry bring to his identity.
Reid’s history of paintings solely portraying water is not forgotten in SHADOWBOXING. “Every Night Dreams 5” is simply a painting of water to draw the connection between his previous artwork and this current series. Although the figurative focus of SHADOWBOXING creates a drastic difference from his previous series of abstracted paintings of water, there is a conceptual connection between examining and processing one’s physical health with regards to nature, and one’s psychological health. Both aspects inherently relate through the overall desire to be healthier and present a healthier self to the world.
Although the works are primarily portraiture, there is a significant amount of underlying meaning and symbolism. Reid offers a glimpse into his process of shadow boxing and aids the viewer through the process of interpreting the works. However, rather than forcing overarching concepts within the pieces, Reid leaves room for the visitors to unpack complex meaning. Shadow boxing can be a difficult process of internal scrutinization, yet it ultimately encourages gentler responses to oneself. Innovation and altered relational patterns result from yielding to the discomfort of shadow work and the recognition of past and current trauma. Memory plays a crucial role in shadow boxing as a guide through revelatory experiences that lead back to high levels of consciousness. Reid is examining the ebb and flow of these varied components as they merge toward the road of awakening.
SHADOWBOXING is a deeply personal exhibition that tells the story of an individual bravely and authentically facing his trauma and self-image to develop into a healthier and more enlightened human being. The exhibition primarily features self-portraits to further hone in on the importance of introspection. Through the process of creation, Reid is reflecting on his transformative and revelatory experiences during self-examination and the path of healing wounds within himself. He is remembering his source energy, undergoing a cleansing, and reuniting with his system of values through a difficult, yet rejuvenating process. SHADOWBOXING is a radically honest portrayal of Reid’s desire to bring forth his shadow and lovingly amend it, with the hope of ultimately unveiling the fully integrated version of himself to the world.
ABOUT JUANA WILLIAMS
Juana Williams is a visual arts curator and writer from Detroit, Michigan. Her curatorial practice predominantly focuses on deconstructing complex cultural issues and attempts to provide a dialogue within which these issues can be discussed. Williams is passionate about engaging communities, elevating diverse voices, and giving a platform to artists for innovative expression. She persistently advocates for supporting artists and preserving art-centered spaces.
