The Art of Marshall Jaree Brown (middle name pronounced "Jerry")
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Images L to R: 1981 in my dorm room at Howard University; at home in 1983; a more recent "artist pose" around 2015; and with my beautiful wife Edie in 2016.
Worship & Spirituality
2022
Mixed media (acrylic paint, metallic paint marker, cloth, mirror and glass tiles) on 18"X24" canvas. 80's Heavies group project, to create a visual based on "The Black Church." My goal was to present the viewer with a piece that shows family, love, movement, joy, fellowship and compassion - all emotions present within Black Churches. The relationship between people and institution, is one where all are welcomed to receive the word of God. The mirror and glass tiles used for the crosses represent colorful stained glass windows, and the African (Adinkra) symbolism is to ensure that artwork remains "grounded and tied" to my rich cultural heritage.
2022
Mixed media (acrylic paint, metallic paint marker, cloth, mirror and glass tiles) on 18"X24" canvas. 80's Heavies group project, to create a visual based on "The Black Church." My goal was to present the viewer with a piece that shows family, love, movement, joy, fellowship and compassion - all emotions present within Black Churches. The relationship between people and institution, is one where all are welcomed to receive the word of God. The mirror and glass tiles used for the crosses represent colorful stained glass windows, and the African (Adinkra) symbolism is to ensure that artwork remains "grounded and tied" to my rich cultural heritage.
Make Your Vote Count
2022 Acrylic paint and metallic paint marker on primed, 24" X 36" unstretched canvas. 80's Heavies group project, based on the theme "Voting Rights." My intention was to combine the simplicity of familiar-looking subject matter with a strong, compelling message - that we must know (and understand) election issues & vote for our interests. Many generations of our ancestors sacrificed personal safety and well-being to obtain voting rights for individuals to fail. Those with opposing interests quietly, CONSISTENTLY vote for their interests - many of those to inflict harm on Black people. Don't be so cool. Vote. |
Other Side of King's Mountain
2022 Acrylic on 24" X 48" canvas. 80's Heavies group project, based on "The Black Family." Inspiration for this artwork is loosely taken from Martin Luther King's 1968 sermon "Been to the Mountain Top." The full richness and power in his words remain solid. The words remain relevant. The message remains crystal clear. The Black family received a Promise from God; a Promise yet to be fulfilled - but still in que. Regardless of the actions and behavior of those opposing this Promise, what is to be remains "what is to be." The family in my painting is standing firmly on African soil, represented by the symbolic mudcloth markings beneath their feet. The family bears witness to a failing America, represented by the flag apparently ablaze. However, the family assumes a non-participative role and watches the demise, because the theft, corruption and lies on which this nation was built could not withstand the test of time. In addition, the family has no reason to interfere, for they see beyond the ruins, which is the promise of their ancestors, represented by African ceremonial masks and Adinkra symbols which stand for "Supremacy of God," and "Freedom and Emancipation." The family remains strong and prepared to fulfill their rich journey. https://www.afscme.org/about/history/mlk/mountaintop |
Love Unifies our Family
2022 Mixed media (acrylic paint, metallic paint marker, cardboard and paper) on 22" X 28" canvas. 80's Heavies group project, based on "The Black Family." Inspiration for this artwork is from my family and the family of friends; for most of us have encountered a similar journey - being cut off from our past. Showing feet firmly planted on rich soil, with African mudcloth symbols in their path - the land representing the African continent, which is where our DNA and footprints remain. The water showing the transatlantic journey of the Middle Passage; a connection to this "new land" (America depicted), where symbols dissolved to show the separation of cultural stability, families and friends. The rows of cotton fields represent centuries of human bondage and brutal oppression under the hot sun. The next phase is ours; as the mudcloth markings re-emerge, leading toward our future of spirituality that our ancestors prayed for us to re-claim. The silhouette of the family unit is filled with a variety of images from before bondage to 2022, including celebrities, civil rights activists, athletes, events, and tools that left a notable mark along the way. |
Ceremonial Mask
2022 Acrylic on 12" X 12" paint panel. A colorful expression painted behind one of the African masks on display in my home. This and other masks were created to possess and transfer spiritual power, a tangible form of invisible spirits. |
Waiting in Excellence
2021 “Excellence in Waiting” Is digitally created from my desire to create a beautiful, colorful, spiritual piece to pay homage to Black Women. Long overdue, Black Women in this country are beginning to receive recognition not only for their stunning beauty, grace and perseverance, but for the countless, selfless contributions being made to this country. Their moral and intellectual leadership won elections this past year, and have helped to preserve democracy. The women are depicted as standing in line as a show of support to all Black Women, and awaiting their opportunity to reveal their excellence to the masses. |
Black Tie
2021 "Black Tie" is my male partner piece to "Excellence in Waiting." I wanted to use a similar colored background, but with a more bold, masculine theme. This particular theme includes a colorfully designed tie with Ashanti Adinkra symbols throughout it. At the top is the Gye Nyame symbol, which translates into the Except for God, referring to the Supremacy of God. |
RISE! We Got Your Back
2021 This digitally created artwork pays homage to Black Women of all ages, as encouragement to go for it, because "we got your back!" Women of all walks of life work hard to become successful. RISE! is to remind every woman that there are plenty of people who support their efforts. |
Missouri Avenue Beach (AKA Chicken Bone Beach) Atlantic City, NJ
2021 “Chicken Bone Beach” was one of the few designated public beach areas for Black people, between the 1900s through 1960s. In fact, it remained a Black beach until the Civil Rights Act of 1964 was passed. Starting in the 1940s, Black entertainers and showgirls who were in town performing in AC nightclubs, often performed at the beach. The section of Missouri Avenue Beach was nicknamed “chicken bone beach” because many restaurants did not serve Black clients, so many brought packed baskets with food to the beach. |
Ceremonial Wall (Wakanda)
2021 This digital piece is my version of the Wakanda ceremony in the Movie “Black Panther.” Featuring a colorful waterfall of people and nature, this artwork would be suited for a child’s room or playroom. |
Proud Ladies
2019 Acrylic paint on canvas, 16" X 20" - the Proud Ladies is a bright, colorful exploration of beautiful African Women wearing luxurious garments. |
African Masks
2019 Acrylic paint and reflective acrylic paint marker, 16"X20" - African artifacts accumulated over years of travel are evidenced throughout my home. They enable me to gain strength and peace of mind - providing comfort of knowing that we came from greater civilizations than we currently know, and confidence of that return. The masks represent Ancestral ceremonies that continuously watch over my home. Additional design elements include mudcloth as the background; stars, which represent the Unification of African States; and Mother Africa, as our one Home. |
Stained Glass: Spirituality & the Supremacy of God
2019 Mixed Media, 16"X20" - Raised by Methodist and African Methodist Episcopal (A.M.E.) parents, the image of a cross, stained glass windows and the wood of the pews are forever etched in my mind. These images served as the foundation and motivation for this artwork - which was also a first-time collaboration with my wife (Edith M.). Colored glass tiles enhanced the print, providing a more authentic experience. African (Ashanti, Ghana) symbols add a more spiritual connection, stating 1) Supremacy of God; 2) Love (never loses its way home; and 3) God's Omnipresence in the Universe. |
He Shall be KING
2020 Acrylic paint on canvas - 22" X 28" As my wife looks over our first grandchild sleeping, she has already prayed for his life, his life journey and his life's work. He shall be nothing less. |
His Eye On The Sparrow
2020 Acrylic paint marker on canvas panel, 12"X 12" - Paying homage to my Mother's favorite song, "His Eye is on the Sparrow," written in 1905 by Civilla D. Martin, and composed by Charles H. Gabriel. The song was "popularized" by singer Ethel Waters (also recorded by Mahalia Jackson). The words were inspired by David in the Psalms and Jesus in the Gospel of Matthew in the Bible. Familiar mudcloth design elements in the background, and Adinkra symbol - to connect my own spirituality with Mother Africa. |
Mighty Baobab: African Strength and Potency
2019 Acrylic paint and reflective acrylic paint marker, 24"X 36" - The “Tree of Life,” is a symbol that depicts strength, longevity, endurance and living. The baobab is pronounced several ways (bau-bab in West Africa; bay-o-bab in South Africa), grows in 32 countries across Africa - and can also be found in Madagascar, and Australia. I draw from the strength, dominance and importance of the baobab, acknowledging not only how it has sustained its own life (dating back over 200 million years - but by how its existence continues to provide support to and sustain life for various African communities. Similar to Man (Black Man), the Baobab continues its struggle, amidst challenges presented by those who work against nature. |
Education Celebration
2019 Acrylic paint and reflective acrylic paint marker, 24"X 36" - Acknowledging the power in knowledge, this artwork is meant to reinforce how important reading and seeking knowledge is. Whether in religious writings, instructional booklets, via electronic media, or other methods of learning - "to know" is becoming more critical in the age of misleading propaganda. In fact, knowing how to detect the difference between fact and fiction is intentionally blurred by institutions that were at one time trustworthy. |
Toxic Targets: Fat Girl and Fat Boy - We Don't Know What We Eat
2016 Mixed Media on canvas, acrylic, paper, cardboard and plastic, each 36"X 48" - The motivation behind these large pieces was to draw much needed attention to the "lawlessness" occurring within the United States in terms of what toxins are allowed in and around our bodies. Deceptive packaging has enabled corporations to include unsafe ingredients in household items, and in foods that are popular - especially to young people! We see people who appear to be in great physical condition - unknowingly consuming poisons every day. |
12.5 Million African People; 35 Thousand Ships
2018 Acrylic paint marker on canvas panel, 9"X 12" - Paying homage to the Middle Passage (TransAtlantic Slave Trade) - this artwork represents the many routes taken from Africa, by Europeans who worked to steal history - by removing Black people from their homeland, families, and culture. Red, Black and Green, along with Adinkra symbolism "colorize" the waters surrounding Africa - representing the strength that both unites all children of Africa, and ensures our ability to remain bonded. |
American Hero - Public Education, First Walk #1
2016 Acrylic on canvas, 24"X 36" - The beauty and courage of this young, Black girl (Ruby Bridges) provided the motivation for this artwork, based on her heroic November 14, 1960 first walk to school in New Orleans, LA. She had to be escorted by federal Marshals, in order to desegregate the all white school. Ms. Bridges was the powerful key figure - which warranted that her figure be presented larger than she was at the time, and in color. |
Strange Fruit: Study #2
2018 Acrylic on canvas, 12"X 24" - Paying homage to the poem/song "Strange Fruit," written in 1937 by Jewish-American writer, teacher and song writer Abel Meeropol, as a protest against inhumane treatment of Black people. The song was recorded in 1939 by Billie Holiday. My interpretation in this study was to "attract" interest in the artwork through the appearance of a popular loom of fruit. Once engaged, my hope is that the viewer will notice the coldness of the darkness around, the naked tree and harsh midnight sky. Last but not least, the noose and blood-filled drippings should signify that something is "strange" about the fruit hanging from this tree. |
Alt The President’s Men
2016 Digital Image on Paper, Size 10”X 13” - Shortly after the election in 2016, it became clear that America had experienced a "first" of many inconsistencies that would leave a permanent dark stain on history. Despite a continuous (self-professed) rant of competency that lasted throughout the duration of the term, there was a series of "dark faces and money" that continued to influence this corrupt President. All part of the new alternative governance - that suggests an inability for those who align with this small, corrupt world-wide alliance to "win" under any normal circumstance. |
American Hero - Public Education, First Walk #2
2016 Acrylic on canvas, 30"X 40" - The beauty and courage of this young, Black woman (Elizabeth Eckford) provided the motivation for this artwork, based on her heroic September 4, 1967 first walk to school in Little Rock, AR. She was one of the students referred to as "The Little Rock Nine," who integrated the all-white public high school after the Brown vs. Board of Education ruling. Ms. Eckford was taunted as she was followed and threatened by the angry white mob. As a larger than life powerful figure - I presented Ms. Eckford larger than she was at the time, and in color. |
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My Parent’s Nightmare
2016 Digital Image on Paper, Size 10”X 13” - The reason for creating this artwork was to serve as a painful reminder - that had to be created "to remind," for the many Black families in the United States who have lost a loved one to gun violence. The question posed by the many crosses is "after 400 years of prayer, how many more (years) are we supposed to pray for this to end?" Images depicted as babies and young boys, to also remind us that these are sons, whose parents had dreams for their futures. The shadows are to exaggerate the horror, with the flag as a backdrop to show how the lack of proper governance contributes to such a horror. |
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African Tree: Baobab #1
2017 Acrylic on canvas, 12"X 24" - Painting of an African baobab tree, incorporating elements such as the image of the African continent into the tree itself; Adinkra symbolism, the redness of the sky, and mudcloth design in the earth - connecting the beauty as a constant reminder of Africa's greatness. 
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African Tree: Baobab #2
2018 Acrylic on canvas, 12"X 24" - Painting of an African baobab tree, incorporating elements such as the image of the African continent into the tree itself; the redness of the sky, and mudcloth design in the earth - connecting the beauty as a constant reminder of Africa's greatness. |
Ashanti Adinkra Posters
2017
Digital Images on Paper, 16"X 20" - Utilizing the strong, graphic and spiritual symbols of the Ashanti to provide strength and encouragement to the viewer.
2017
Digital Images on Paper, 16"X 20" - Utilizing the strong, graphic and spiritual symbols of the Ashanti to provide strength and encouragement to the viewer.
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