Past the Metro North tracks on 119th Street there are a string of buildings, the Emanual AME Church, and what many may not know, a gallery dedicated to artists whose work represents an array of backgrounds, mindsets, and skills. Translated Casa Frela means “Delicate Homeâ€; so it fits that the gallery also serves as the home to curator Lawrence Rodriguez. When you first walk up to 47 119th Street you may be expecting flashing lights or a decorative sign hanging from the front door noting Casa Frela Gallery’s existence. Yet, it’s a regular brownstone just like the ones attached to it at either side. Any hesitation to enter can be quelled with a quick phone call or pushing the buzzer button to inquire about the opportunity to view the artwork inside.
When visiting on a weekend you may be privy to a one-on-one walking tour around Lawrence’s home. Lawrence is very knowledgeable, able to rattle off facts not just about the work he’s showcasing but also about the neighborhood he inhabits. Casa Frela Gallery has been in existence for three years. Lawrence was a resident of Harlem remembering it from the 1980s. He recalls an older New York that had a boarded up and gritty Times Square versus the illuminate corporate showcase it’s become. His intention was to bring back culture to a community that he loves and that is so rich in history.
When I asked Lawrence what type of work he seeks to display he replied that he’s “an advocate of women†artists as well as artists whose work probably wouldn’t get the opportunity to be viewed at a major museum. There was an interesting exhibit Casa Frela had from photographer Mireille Liong entitled The Pursuit of Nappiness. On Ms. Liong’s website she encourages a community of men and women who wear their hair naturally in a range of styles. At the opening of her exhibit she spoke about the benefits and strength in wearing one’s hair naturally and not using chemical products.
The gallery serves as a place for the community to enjoy art from all over. The main floor is dedicated to vintage Haitian Vodou Flags. Heading upstairs you see the start of Tony Savino’s Fête St. Yves photography collection. In the stairway going to the basement level you feel the presence of one looking at you only to turn around and see a life-sized statue of a woman staring at you. The black skin on her is chipped and rusting into a teal color. The buds atop her head make you think of the beginnings of dreadlocks. Lawrence informed me he was in the midst of trying to sell the statue, but is unable to find the original artist.
The current exhibit of the The Sacred Roots of Vintage Voodou Flags presents the history of a vivid culture. These flags are presented from the collection of Thomas S. Schultz, M.D. and range from the brilliant to the more subdued in their hues. Each one represents a God (loa) and the merging of aspects of the Catholic religion and the native religion brought to Haiti from African slaves. Flags like Damballah Wouedo (Rada) have Damballah represent Moses and “bringer of the law†(illustrated as The Ten Commandments) as seen in the center of this multi-colored flag with a picture of Moses’ face in plastic with beading encompassing the background and clothing. Voodou was not considered a religion by colonists, requiring the integration of the two beliefs from the Haiti culture to better show their viewpoint without having to explain them. The belief in loas was very strong and these flags are dedicated to the several this culture observed. Danbala (Damballah) Erzulie (Rada) is a silver beaded flag with green fringe and two serpents representing both gods (Danbala and Erzulie) and a heart (Erzulie’s). Erzulie was a figure of “delicate and alluring womanhood†and has the title of being the loa of love and beauty, much like Ancient Greek myths bequeathed this title to Aphrodite.
Savino’s photography extends the Voodou beliefs when he visited Haiti and the St. Yves Church during a festival. The introductory picture in his collection reflects the arrival with a huge banner in blue and red lettering that states BONNE FÊTE SAINT ┼ YVES. Crossing under the banner are the townspeople, some dressed in their “Sunday best†for this festival as one woman with a scarf, pink dress, and sandals walks towards Savino’s line of view with a grin on her face. The rest of the photos in his collection detail cleansing (people walking around naked as they bathe their bodies and undergarments in fresh water during the course of the festival) and the spirit (as one man seems to be inhabited by the spirit of the loas in preparation for sacrifice). Photos also detail the sacrifice of a living bull to the loas. This bull’s neck is slit then he is bled as a gift to the gods. Viewing these photos (also available for viewing online) you will see a woman holding up the head of the bull like a trophy at the conclusion of the ceremony and the affirmation towards what can be considered Haiti’s national religion. The combination of both collections was part of Lawrence’s quest to present more of Haiti’s rich traditions in visual form.
As I exited, thanking Lawrence for his time, one of his neighbors passed by “Hey Lawrence†she said with a smile. Just seconds prior he had informed me of how kind everyone in his area was and suggested I go get some food at a local restaurant called Native or some coffee at one of the new cafes around the corner. I appreciated his hospitality on a chilly Sunday afternoon and also appreciated his immersion and dedication to injecting another avenue for more risqué artists in Harlem to be seen.
