Thank You, Come Again
ANDRE BARKER
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In "Thank You, Come Again", Andre Barker uses the familiar plastic shopping bag as a metaphor for the discomfort and sense of disposability experienced by Black people in America. His figures occupy stark, loosely sketched environments that convey the unease of navigating predominantly white spaces. Both playful and unsettling, the series explores visibility, individuality, and belonging.
In "Thank You, Come Again", Andre Barker transforms an ordinary plastic shopping bag into a powerful metaphor for the experience of being Black in America. Designed for convenience and meant to be discarded, the bag becomes a symbol of disposability and the discomfort of existing in spaces where one's presence may not be fully welcomed or valued. Barker's subjects are rendered with remarkable precision. Their clothing, jewelry, tattoos, and gestures reveal distinct personalities, while the plastic bags obscure their faces. Despite this concealment, each figure maintains a strong sense of individuality. There is humor, confidence, and personality in their poses, creating a tension between how these individuals present themselves and how they may be perceived by the world around them. The environments reinforce this unease. Barker often places his subjects within recognizable Detroit streets, storefronts, and public spaces, rendering these surroundings in loose, largely monochromatic lines. The contrast between the fully realized figures and the stark white backgrounds is intentional, conveying the discomfort of navigating predominantly white environments. The series began with "Heatwave", a closely cropped portrait that introduced the plastic bag as its central symbol. As Barker developed the work, he expanded the compositions to include additional figures, recognizable locations, and increasingly expressive gestures. In "It Can't Always Be Night", the artist offers another perspective. A woman removes the bag from her head, suggesting the possibility of reclaiming one's visibility and agency. What makes these paintings particularly compelling is Barker's ability to address difficult experiences through an object so familiar that we rarely give it a second thought. The works are visually engaging, at times humorous, yet their underlying message is considerably more serious. With several paintings now in private collections and new works continuing to emerge, "Thank You, Come Again" remains an evolving exploration of identity, perception, and belonging.
Where it Began
"Heatwave" marks the beginning of "Thank You, Come Again", introducing the plastic shopping bag as a metaphor for the discomfort and sense of disposability experienced by Black people in America.
Set against a solid black background, the portrait directs our attention to the individual and the ordinary object obscuring their face. Barker's careful rendering of the subject stands in contrast to the disposable nature of the bag, establishing a tension that continues throughout the series.
The Familiar Made Unfamiliar
The ubiquitous plastic shopping bag becomes the defining symbol of Barker's series. An object associated with convenience and disposability takes on a more complicated meaning when placed over the human face. The bag conceals the individual while suggesting the discomfort of being seen as disposable in American society. Through its repetition, Barker transforms an ordinary object into a recognizable symbol of a shared experience.
The Space Between
Barker's figures are richly painted, while their surroundings remain stark, loosely sketched, and largely devoid of color. This contrast is intentional. The white environments communicate the unease of navigating predominantly white spaces, creating a psychological separation between the individual and the world around them.
Recognizable Detroit streets and storefronts provide a sense of place, but the environments remain unresolved.
Individuality in the Details
Even with their faces concealed, Barker's subjects retain a strong sense of individuality. Their clothing, jewelry, tattoos, and gestures become a language of their own. Each detail offers a clue to personality, reminding us that identity extends far beyond what is immediately visible.
There is also a sense of confidence and humor in these portraits. Barker allows his subjects to express themselves through movement and personal style.
It Cannot Always Be Night
In "It Cannot Always Be Night", Barker introduces a significant shift in the visual language of "Thank You, Come Again". Rather than remaining concealed beneath the familiar plastic bag, the subject is shown actively removing it.
Here, the act of removing it suggests a moment of resistance and self-determination. The subject's face is fully visible as she takes control of the object that has obscured her identity.
An Evolving Series
With several paintings from "Thank You, Come Again" now in private collections, Barker continues to expand the series through new subjects, gestures, and compositions. Each work stands independently while contributing to a larger exploration of identity, perception, and belonging.
The newest paintings offer an opportunity to revisit the series as it continues to evolve, revealing the depth and possibilities of Barker's ongoing investigation.
ANDRE BARKER
Photo: CJ Benninger
Andre Barker Jr. (b. 1997) is a figurative painter from Detroit, Michigan. He graduated summa cum laude with his BFA from Wayne State University in 2022 and earned his MFA from Columbia College Chicago in 2024. He currently serves as an Adjunct Professor in the James Pearson Duffy Department of Art, Art History & Design at Wayne State University in Detroit, Ml, and is represented by M Contemporary Art.
Barker has received several accolades, including two Art Activity and Achievement awards from Wayne State University, a Dwight W. Follett Continuing Graduate Student Fellowship, and a Diversity and Inclusion Award from Columbia College Chicago. His work has been exhibited at The 3 Square Art gallery in Fort Collins, CO; The Buckham Gallery in Flint, MI; The KCAD Alluvium Gallery in Grand Rapids, MI; and The Detroit Historical Museum in Detroit, MI. In 2024, he held a solo show at M Contemporary Art in Ferndale, MI. He was also selected for the 2025 Judy Sigunick "fellowship in the Visual Arts at the Ragdale residency in Lake View, IL, and will be featured in New American Paintings, No. 179, Midwest Issue.