All Of It with Alison Stewart
Episode Summary: Kwamé Azure Gomez's Debut Solo Exhibition in Chelsea
Air Date: April 2, 2026
Guest: Kwamé Azure Gomez, artist
Host: David Fuerst (in for Alison Stewart)
Episode Overview
This episode features an in-depth conversation with visual artist Kwamé Azure Gomez, marking her first solo exhibition at the Marianne Boesky Gallery, titled Set the Atmosphere. Gomez and guest host David Fuerst explore the intersections of movement, ritual, lineage, and color in her dynamic, large-scale paintings. The discussion draws connections between personal history, cultural rituals, queer identity, and artistic process, offering listeners insight into the immersive, emotionally resonant world of Gomez’s work.
Key Discussion Points & Insights
1. Origin of the Exhibition Title and Personal Rituals
- Title Meaning:
- The exhibition title Set the Atmosphere references a gospel song by Kurt Carr & The Kurt Carr Singers, which Gomez’s childhood dance group in Ohio would perform to during her upbringing ([00:57]).
- “Set the Atmosphere was the title of a song that my dance group... danced to. And the song... is a gospel song.” — Kwamé Azure Gomez [00:57]
- Connection to Ritual:
- Watching an old video of the group performing evoked memories of church rituals that later influenced Gomez, especially after experiencing queer nightlife and the ballroom scene in Chicago ([01:30]).
- The fusion of church and queer ritual birthed the thematic core of this show.
2. Movement and Artistic Process
- Gomez discusses a physical, somatic relationship to painting:
- “I'm definitely moving while I'm making the work. I would say towards the end of the day... I definitely start dancing.” ([02:31])
- The creation process is immersive and physical, paralleling the dance rituals that inspire her.
- Mediums & Multidisciplinary Background:
- She also incorporates her experimental film background, blending gospel, house music, and editing into her practice ([02:52]).
3. Technique: Additive and Subtractive Methods
- Gomez explains two main approaches:
- Additive: Starting with color washes, layering figures, and then more paint.
- Subtractive: Repeatedly erasing and reworking layers to reveal “truth” within the work ([03:23]).
- “It's a process that's kind of like a give and take... I'm kind of finding truth in that aspect of painting.” — Gomez [03:23]
4. Audience Impact and Scale
- Gomez hopes viewers feel “in touch with themselves” and confronted by scale:
- “Being confronted by large works of art... is being confronted with something so large you realize... your relation to the world... like being confronted by space and time.” ([04:31])
- Reference to Octavia Butler’s Parable of the Sower and explorations of evolving spirituality and existential self-inquiry ([04:53]).
5. Symbolism and Family Legacy
- Discussion of “Backwater Blue New Moon After Diane” ([05:33]):
- The work references her paternal grandmother and is inspired by both personal memories and Dinah Washington’s “Backwater Blues.”
- Gomez describes encoding objects and numbers as a spiritual practice:
- “It’s a way that I, like, spiritually encode my ancestors while also visually protecting them in the pieces.” ([06:13])
- Family symbols (e.g., the number 7, outlines of hands, the African continent) recur throughout her work.
6. The Role of Color and Synesthesia
- Gomez’s process is deeply tied to color, often inspired by dreams or memories:
- “I have a very synesthetic relationship to color... I can't even start a paper unless I know the exact color... usually it'll come to me in a dream.” ([07:29])
- Use of color pays homage to loved ones, such as a palette inspired by her aunt’s makeup at Art Basel.
7. Exploring Queer Love and Intimacy in Painting
- On “lovers scene 2. Them their eyes”:
- A bright red canvas where viewers discern two men walking off the canvas, inspired by Billie Holiday’s “Them Their Eyes” ([08:10]).
- “There’s something deeply beautiful about, like, finding a lover on the dance floor and then leaving... continuing queer intimacy outside of... the public gaze.” ([08:30])
8. A Day in the Studio: Routine and Inspiration
- Gomez’s typical studio day starts early (sometimes 6am), interspersed with poetry reading, especially Lucille Clifton, and self-written poetry ([09:35]).
- “I'll read the poems as I'm making... almost like a prescription. Like, what do I need for today?” — Gomez ([09:35])
Notable Quotes & Memorable Moments
- On Ritual and Connection:
- “Watching the videos, something was just deeply moving about the people in the crowd... falling out of their seats... something about that ritual... reminded me of the rituals of queer nightlife.” — Gomez [01:30]
- On the Spiritual and Familial Layering of Symbols:
- “My family plays... the lottery system. And so my dad would leave behind... all these pieces of paper... with certain number sequences representing my grandmother’s... it’s a way that I, like, spiritually encode my ancestors.” — Gomez [06:13]
- On Queer Narrative in Art:
- “There’s something deeply beautiful about, like, finding a lover on the dance floor and then leaving... queer intimacy after... outside of... the public gaze.” — Gomez [08:30]
- On Confronting Art:
- “Being confronted by large works of art... is like being confronted by space and time.” — Gomez [04:31]
Timestamps for Key Segments
- [00:57] — Origin of the exhibition title and gospel influence
- [02:31] — Physical movement as part of painting process
- [03:23] — Additive and subtractive artistic methods
- [04:31] — The effect of scale and confronting viewers’ humanity/spirituality
- [05:33] — Symbolism, ancestors, and “Backwater Blue New Moon After Diane”
- [07:29] — Synesthesia, dreams, and color in art-making
- [08:10] — Telling queer stories: “lovers scene 2. Them their eyes”
- [09:35] — Gomez’s studio routine and influence of poetry
Additional Resources
- The exhibition Set the Atmosphere runs at the Marianne Boesky Gallery through April 18th.
- For images of Gomez’s works: visit Instagram @olivenyc ([10:18])
Conclusion:
Kwamé Azure Gomez’s debut solo show is a radiant exploration of movement, history, and ritual, artfully bridging her personal narrative with broader themes of spirituality, family, queerness and color. Her process is as immersive and multilayered as her canvases, inviting viewers to lose themselves in the vibrant force of her work.