Monique Meloche’s exhibition Royal Specter, featuring work by the artist Kajahl, is in every aspect a museum-quality exhibition. I am not merely referencing the historically traditional and representational style of Kajahl’s paintings (that is to say, portraying a ‘likeness’ of the subject—and whose likeness is it? More on that later). I am also not just referencing the artist’s unbelievably skilled use of oil paint on canvas—materials that are, again, traditional. As Kajahl’s paint renders abundant silk folds, fine furs, and ornate gold, both the medium and style which together demonstrate a high level of skill, are historically deemed as having high value. However, when I say “museum quality,” it is not because of the undeniable attention to detail and quality of the work itself. Instead, it is because, upon gazing on the works, my mind ultimately and immediately places them within an art historical context. With each piece referencing so many elements of historical portraiture, Kajahl’s works are itching to disrupt the canon, demanding to reimagine the (absent) place of the Black figure in the history of European portraiture.
Fantasy of a Fantasy – A Review of Kajahl: “Royal Specter” at Monique Meloche
Christina Nafziger, Sixty Inches from Center, December 2, 2020