Felandus Thames's Beaded Art Explores Black Identity and Memory

Felandus Thames, an artist based in West Haven, Connecticut, has carved out a unique artistic space where Black cultural narratives and identity are central. His studio, described as a shrine to Black cultural scripts, houses a collection of beaded curtain portraits depicting prominent Black figures, along with sculptures crafted from hairbrushes and other everyday objects. Thames's work delves into themes of memory, identity, and the overlooked histories of Black individuals, prompting viewers to engage with and learn about these narratives. His artistic journey, marked by a deep commitment to his craft, has led him to be featured in the inaugural Aldrich Decennial, an exhibition celebrating Connecticut-based artists.

Thames's approach to art is characterized by an obsession with creation and a meticulous attention to detail. His beaded portraits, some taking hundreds of hours to complete, are not merely visually striking but also serve as conduits for deeper meaning. He intentionally uses materials that resonate with Black experiences, such as the beads commonly used in Black hairstyles and the beaded curtains prevalent in African American homes. Through these choices, Thames aims to foster a connection to memory and explore concepts like Black interiority and liberation theology. His participation in the Aldrich Decennial highlights the rich artistic talent within Connecticut and challenges the notion that world-class art is exclusive to major metropolitan centers.

The Artistic Journey and Vision of Felandus Thames

Felandus Thames, an artist working from West Haven, Connecticut, transforms his studio into a vibrant sanctuary of Black cultural narratives. This intimate space, situated a short distance from Union Station, is filled with his latest creations: beaded curtain portraits of influential Black figures. During a recent visit, several of these works were seen in progress, meticulously laid out on tables, awaiting their final touches. An earlier piece, a green beaded curtain spelling out “pleasure” in orange, reminiscent of vintage Newport cigarette advertisements, hung nearby, hinting at the profound artistic explorations present in his newer works. Beyond these captivating portraits, Thames’s studio also permanently displays a series of his hairbrush sculptures. These pieces are often inscribed with poignant maxims derived from his own poetry or the verses of Black poets he admires, adding another layer of introspection and cultural dialogue to his collection. The studio itself is a curated environment, adorned with objects that speak to the everyday life and rich history of Black Americans, including an iconic 1980s “ghetto blaster” and a vintage Colt 45 malt liquor bottle, which he hopes actor Billy Dee Williams will sign.

Despite the organized appearance of his studio, Thames reveals that his true creative space resides within his mind, driven by an unwavering obsession with making art. This dedication is evident in his early work, such as I’m Neutral (2010), which he crafted on his dining room table for an exhibition at the Kravets Wehby Gallery, earning him a mention in the New York Times. His artistic trajectory took a significant turn after attending the Tougaloo Art Colony in 2001, where a conversation with artist Torkwase Dyson inspired him to pursue art seriously. This led him to enroll in the School of the Art Institute of Chicago, though he later transferred to Jackson State University due to financial considerations. Following his graduation in 2008, and recalling his formative interaction with Dyson, Thames applied to Yale’s MFA program, successfully earning his degree in 2010. His time at Yale was intellectually stimulating, marked by classes with renowned art historian Robert Farris Thompson, and lectures from influential figures like cultural critic Greg Tate, sociologist Paul Gilroy, and filmmaker Melvin Van Peebles. He also engaged with visiting artists such as Pope.L, George Condo, and Trenton Doyle Hancock, and critics like Lyle Ashton Harris and Mickalene Thomas, experiencing numerous studio visits that further enriched his artistic development.

Celebrating Local Talent and Challenging Artistic Norms

Felandus Thames's decision to remain in Connecticut is deeply rooted in the vibrant intellectual and artistic environment the region offers, particularly through its proximity to Yale University. Living here grants him unparalleled access to world-class academic discourse, captivating lectures, and a continuous stream of visiting scholars and artists. Furthermore, Connecticut boasts a robust and diverse artist community spanning various disciplines, providing Thames with a supportive network of friends and acquaintances. This rich ecosystem fosters collaboration and intellectual exchange, contributing significantly to his artistic growth and professional satisfaction. Currently, Thames is prominently featured in the inaugural Aldrich Decennial, an exhibition that shines a spotlight on the talents of 40 artists residing and working within Connecticut. Organized by the Aldrich Contemporary Art Museum in Ridgefield, chief curator Amy Smith-Stewart spearheaded this initiative, aiming to gauge the current artistic pulse of the local scene. The Decennial adopts a ten-year cycle, a deliberate choice to align with the evolving pace of Connecticut's dynamic art landscape, ensuring a regular and comprehensive survey of its creative output.

Amy Smith-Stewart, the chief curator, openly acknowledges the common criticism leveled against contemporary art museums outside major metropolitan areas for often overlooking their local artistic communities. She views the Aldrich Decennial as a direct response to this issue, a concerted effort to foster and celebrate regional talent. Her philosophy is clear: artistic excellence and impact are not exclusive to art epicenters like New York, Los Angeles, or Chicago. She champions the idea that significant artistic movements and individual breakthroughs can—and do—originate from diverse locations. The theme for this year’s exhibition, “I Am What Is Around Me,” draws inspiration from a poem by Wallace Stevens, a resident of Hartford for four decades whose poetry was profoundly shaped by his life there. To curate this exhibition, Smith-Stewart undertook approximately 100 studio visits, a testament to her dedication to a thorough and inclusive selection process. What particularly resonated with her in Thames’s work was his masterful ability to imbue materials with profound meaning and memory. She noted how his art powerfully illuminates Black identities and histories, often bringing to light narratives that are either lesser-known or have not received the attention they rightfully deserve. Consequently, two of Thames’s beaded portraits are featured in the exhibition: She did what she could (Dorie Ladner), a tribute to a social worker and civil rights advocate crucial to voter registration efforts, and Jubilee (Margaret Walker), honoring the author of the novel Jubilee, who coincidentally taught Thames’s own instructors at Jackson State University. For Thames, the Decennial represents a vital platform, offering visibility and exposure to many artists who lack representation in major art hubs like New York. He sees it as a critical lifeline, particularly at pivotal stages in their careers, and hopes it will ultimately dispel the misconception that world-class art cannot also be locally rooted.