Modern Painters

BIOPICALL IMAGES: NARI WARD AND LEHMANN MAUPIN, NEW YORK AND HONG KONGTHIS IS A PERFORMATIVE piece that I fi rstmade in 2004, inspired by my applicationfor citizenship. It took me a while; Iwould always get distracted because it’s a10-page application. The papers wouldend up sitting on my desk, turning into artmaterial. So I decided I wanted to do a workthat talked about the process of applyingfor citizenship, but correlating that withthe idea of being part of a community. Itook the pages of the application and madea series of drawings on them. Some ofthe drawings recall the schematics of colonialfortresses in Jamaica, the country whereI was born. But in fact they’re also just kindof meandering scribbles of space. Theyreference and honor the Jamaican artistJohn Dunkley, who painted these strange``````landscapes that suggest tunnels or holes.The premise behind the piece is that youapply for the set of prints packaged in anoffi cial, embossed envelope. So, viewers whocome to the Naturalization Table bring anID, have their individual photos taken, andfi ll out an application. Then they go to theother side of the table, where there is a notarywho validates the information and stampsthe form with the photo attached. The notaryasks, “Do you know what you’re participatingin? Do you understand your rights?” It’s alegal document, and you have to be of legalage to participate. And in exchange for thatand your image, you get the suite of prints.The actual table is made from the oldPlexiglas register shields that fronted mylocal bodega, where you’d exchange goods and``````money through that kind of tunnel, or box. Iliked the idea of this boundary space, andusing it as the table made total sense as theobject over which to negotiate this contract.The interesting point of dialogue is that itprompted people to share their experiencesand anxiety around this kind of structure,and I’m excited about the fact that the workgathers viability—it’s really valid only if wehave your image. In theory, the piece doesn’tfunction if you sell it to a collector. The printsbecome nullifi ed once someone else, who didnot participate, takes ownership. It’s validatedonly by your being part of the piece. MP``````“Nari Ward: Sun Splashed” will be on view at theBarnes Foundation in Philadelphia from June 24through August 22.``````NaturalizationDrawing Table,2004. Plexiglas, crenellationtable, and INSnaturalizationapplication.LEFT:One of the prints(of a drawingon an INSnaturalizationform) presentedto exhibitionvisitors.Nari WardThe story behind anartwork, in theartist’s own words``````BLOUINARTINFO.COM JUNE/JULY 2016 MODERN PAINTERS 47