Contemporary artist Stan Squirewell is breathing new life into century-old anonymous photographs through his striking mixed-media collages that celebrate Black identity and heritage. His current solo exhibition, "Robitussin, Hotcombs & Grease," running at the Plattsburgh State Art Museum through December 5, showcases large-scale works that transform forgotten historical portraits into vibrant celebrations of Black experience and style.
Squirewell's artistic process begins with black-and-white photographs, typically taken a century ago or longer, sourced from the Smithsonian Institution's anonymous photo collections as well as from family and friends. He particularly focuses on portraits of Black individuals, whether captured in formal studio settings or more casual snapshot moments, both group compositions and individual poses. These historical images serve as the foundation for his transformative artistic vision.
The artist's technique involves collaging fabric patterns, acrylic paint, and glitter directly onto the clothing and surroundings of the photographed subjects, creating a dynamic bridge between past and present. Recognizable luxury brand patterns from Louis Vuitton and Gucci appear throughout his works, suggesting elevated style and status while reclaiming these anonymous figures from historical obscurity. This approach imbues the forgotten subjects with what the museum describes as "vivacious textile patterns" that celebrate their presence and dignity.
Scale plays a crucial role in Squirewell's artistic impact. He prints the historical photographs quite large, often approaching life-size dimensions, which makes the subjects' presence palpable and commanding. While this enlargement process may blur some facial features, it serves to represent the figures in a more immediate, human scale that demands viewer attention and respect. Works like "She Saw Far and Wide" (2023) measure an impressive 90 x 76 inches, mounted on canvas in hand-carved frames.
The exhibition title "Robitussin, Hotcombs & Grease" references everyday items that serve as hallmarks of domesticity and comfort in Black homes, according to the museum. This focus on familiar cultural touchstones reinforces the show's central theme of reclaiming Black identity from historical anonymity. The artist's work transforms these unnamed individuals from mere archival subjects into celebrated figures worthy of contemporary artistic attention.
Squirewell's diverse portfolio includes works spanning multiple years and varying scales. Notable pieces include "Awinita" (2022), featuring mixed-media collage and paint in a hand-carved shou sugi ban frame measuring 59 x 45 inches, and "Colorful Joseph II" (2024), a more intimate work at 15.5 x 12.5 inches. Other significant works include "Uncle O," which combines cut photograph collage with oil and glitter, and "Benny & Al," an expansive 88 x 58-inch mixed-media piece.
The artist's commitment to craftsmanship extends beyond the collage work itself to include hand-carved frames, often using the Japanese shou sugi ban technique. This attention to presentation details reinforces the dignity and importance he attributes to his subjects. Recent works like "He's Home" (2024) and "Chico & Charles 3" (2025) demonstrate his continued exploration of the medium and ongoing dedication to this artistic mission.
Visitors can plan their museum visit through the Plattsburgh State Art Museum's website, while those interested in following Squirewell's ongoing work can find additional pieces on his Instagram account. The exhibition represents a powerful intersection of historical preservation, artistic innovation, and cultural celebration that transforms anonymous faces into celebrated subjects worthy of contemporary recognition and artistic honor.
