Shamans Death at Part 2 Gallery : Oakland

I view death as a creative opportunity for new life. A couple of years ago, I took an honest look inward and didn’t like much of what I saw. Secretive, fearful, insecure, and malnourished, I romanticized my various struggles to externalize blame. Something in this reflection had to change. This was rock bottom. and at that moment I knew something. “This Version of you Must die”. The development of this body of work mirrors my own personal journey into self evolution as it opens into my next Life. This body of work explores entirely new forms, as the quilts come off of the wall, dancing in space, arial works drape and stretch, singing their way to the floor to pool and rise. A driving concept here is the illusion of diversity and the falsehood of individuation. I am focusing my intention on developing emotionally, physically, mentally, and spiritually, the materials used here intimate materials from my life, they house the memory, the sweat, the tears, and pain from this phase in my journey and in their reconstitution comes to mirror my new “body”. How does one kill themself without dying? It is by taking the knife to the neck of each behavior that piles muck on the resplendent black light of your true being. This body of work uses materials my bedding and pillow fort exploring the memory of love housed in personal materials. I memorialize those memories and release the attachment. 

This body of work centers on the process of emotional growth and how I process the memory and impact of my relationships. I focus on love as catalyst for self growth.

Excerpt From Hyperallergic Article written by Malory Nezam

"OAKLAND, Ca. — Moving through a Basil Kincaid show sometimes feels too intimate to witness, like you shouldn’t have been allowed in. Kincaid spills his guts onto the walls — are you really being invited to take part? You are. In his latest exhibition, “Shamans Death” — a solo show at pt.2 Gallery in Oakland, California — Kincaid’s embrace of both fear and fearlessness is ever present, indicating how key his trust of the viewer is to his practice. Kincaid embraces all sides of these emotions, but his work needs you to be there to receive these efforts, to hold them, to allow him to find himself through your bearing witness to the sacredness of his chaos. As such, navigating this exhibition feels equally like an exercise in disarming oneself."

Basil Kincaid to document the inside of the artist's installation and the artist wearing his work in the streets around pt. 2 gallery. Adrian and Basil have a friendship that stems back to their development as young creatives in St. Louis.

"When I first found out who he was, I knew I shared something special with Basil. We knew the same people but never formally met, hung at the same spots but never ran into one another. All of that for this one reason to connect on a higher level beyond us. These images show a lot of growth within me by just allowing Basil to be himself while surrounded by his ancestors (Shamans Death). When I learned about the exhibition showing at pt. 2, I knew we had to work together, but I also knew it was not meant to be forced. During Basil's artist talk, I learned a deeper understanding of art and what it means. I learned if you aren't apart of your craft, you aren't making art. Basil doesn't make art, he is the art, and, to me, I didn't take the photos displayed below, Basil did." –Adrian Octavius Walker



"As for my thoughts on the collaboration; my spirit was pure. My goal was to surrender to Adrian, the photographer. I think there's a beautiful piece about trust there, and black men being open and vulnerable together. At the moment, I was praying quietly to be supple to your vision. I'm usually kind of controlling around the art as I want it my way. And with these, I didn't want to impose myself. I wanted to be a vessel." – Basil Kincaid

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