"In Secrecy," Jaleel Campbell's solo exhibit at the ArtRage Gallery, is cohesive and visually dynamic. It's also partly autobiographical with its discussion of how Campbell grew up as a gay Black man trying to suppress his identity, operating in secret and living an inauthentic life.
In a November 14 artist's talk at ArtRage, Campbell spoke about how he eventually acknowledged his identity and transformed his life.
The show moves beyond one person's struggles and growth to address a larger community. Indeed, the exhibition assesses the impact of societal rejection on LGBTQ+ individuals. Campbell has written about confronting "the toll of secrecy, isolation and shame."
And "In Secrecy," a series of 14 digital-art illustrations, documents the artist's ability to develop a set of interconnected narratives. The exhibit shifts from "In Secrecy," a piece depicting a young boy playing with dolls, to "Livin All Alone, which focuses on the troubled life of his cousin, Terry, from "Servin," a work portraying a confident, self-assured gay Black male, to "The Comfort Zone." The latter work depicts two men, one openly gay and the other living in the closet. They are seen in an isolated space that's small and tight and has few furnishings.
The show provides ample exposure for Campbell's creative direction. The works, most of which were created during 2024, express a visual idiom built on lines and grids, on loops, arrows and other patterns, on vivid colors-- red, gold, purple, green and intense blues. There's also a strong interest in physical spaces, in the rooms and areas occupied by the artist's protagonists.
For example, "Find Your Way Back" places two versions of Jaleel Campbell in the same room, one lit up by bright colors and decorated by vertical and horizontal lines. Viewers see him as a young boy playing with Cabbage Patch dolls and as an adult who's created his own line of dolls, figures made with African motifs.
"Forgotten Innocence," meanwhile, takes place not in a house but on an urban street. Three Black youth stand on a street right by a picket fence separating them from an apartment complex whose facade is rendered in lush-red color.
They are young but thrust into a larger world, forced to deal with the realities of adulthood far too soon. Campbell refers to the artwork as "a poignant reflection on the loss of childhood innocence."
Another digital work, "Sweet Nothings," portrays a couple, a man and woman, who are intimate but have radically different views of their connection. She turns away from him and longs for something more substantial. He reclines back in bed, seemingly content with the current situation.
Among other things, the work strongly suggests that they don't socialize in public; they have secret interactions. A bit of sunshine beams into the room, and a portal signifies a keyhole, not a window.
"Livin All Alone," one of the best works in the exhibit, honors the memory of Campbell's cousin, Terry, who moved to Washington, D.C. as a young man, whose life was shrouded in secrecy and silence. The artist says he was shocked by his cousin's death and saddened by how little he knew about him. Campbell tried to fill in the gaps by speaking to several of his cousin's friends and partners.
The work views Terry as accomplished and sophisticated. He wears a tuxedo, gazes straight ahead, and has a phone in hand with a slightly tangled wire. Yet, shadows flood the space right next to him.
In text that appears next to the illustration, Campbell speaks of his cousin as a beacon of remembrance, stating that "it is through Terry's legacy that I find the courage to embrace my own identity as a gay Black man."
Finally, the artist creates a vibrant landscape for his work, "Forbidden Fruit: Adam & Steve in the Garden of Eden." It reworks a familiar narrative, integrating two male figures who stand side by side, a long, slithering snake, and lots of visual touches. We see a bunch of green and gold triangles, a zig-zag path, and a contrast in colors. The two figures appear in red fragments smack in the middle of the illustration.
The exhibit is a significant step forward for Campbell, 29. It's part of a larger resume including "Homecoming," a solo exhibit at the Everson Museum; "Feel the Funk," a solo exhibition hosted by the Community Folk Art Center; "Paired Pieces," a group exhibit featuring his works and those created by seven young other artists. It ran at the Community Library of Jamesville and Dewitt, as well as other venues. The group show celebrated Syracuse's 15th Ward, a predominantly African American neighborhood decimated by urban renewal and road construction.
And the digital artworks are just one of Campbell's projects. He does commercial design work for various clients, doll making, directing and performing. He's active in community groups such as Project OutLoud and the Black Artist Collective.
"In Secrecy" is on display through January 18, 2025 at ArtRage, 505 Hawley Ave. The venue is open from 2-6 p.m. Wednesday, Thursday and Friday and from noon to 4 p.m. on Saturdays. The gallery is closed on holidays like Thanksgiving and Christmas. Admission is free. For more information, call 315-218-5711 or access artragegallery.org.