alteronce gumby's 'prince of the far rainbow' explores color with shattered glass & gemstones

nicola vassell gallery showcases glimmering color

New York-based artist Alteronce Gumby is set to open his latest exhibition, Prince of the Far Rainbow, at Nicola Vassell Gallery, inviting viewers on a vibrant journey through the energetic and emotive possibilities of color. The show will feature a new suite of abstract paintings, including iterations of his renowned ‘moonwalker’ series, as well as his newly debuted works, ‘rainbow’ and ‘falling rainbow,’ as the artist’s deepened exploration of color and its materiality will be showcased. As Gumby explains in an interview with designboom, these works are the culmination of two years of research and travel, experiences that expanded his understanding of color from a purely visual element into a multi-sensory phenomenon. Gumby reflects, ‘color connects us with the world around us in ways we often overlook. My aim is to bring that connection to life in my work.’ Prince of the Far Rainbow will be on view from November 2nd through December 14th, 2024 at Nicola Vassell Gallery at 138 Tenth Avenue, New York, NY.

COLOR, Alteronce Gumby’s feature documentary

‘prince of the far rainbow’ debuts in new york city

This expanded understanding of color is evident in the tactile richness of Alteronce Gumby’s pieces on view at Prince of the Far Rainbow at Nicola Vassell Gallery in New York. Here, materials like shattered glass, gemstones, and acrylic-colored mirrors become the building blocks of color. His ‘moonwalker’ paintings, which incorporate reflective surfaces, shimmer and shift as viewers move around them, evoking ever-changing landscapes. ‘I wanted to capture that sense of motion and transformation,‘ Gumby says. ‘These paintings are alive in a sense, constantly reacting to their surroundings and to the people who engage with them.’ His use of mirrors, initially inspired by NASA’s cosmic photography, creates an interactive experience where the audience sees both the artwork and themselves, a reflection of the evolving nature of perception.

In the ‘rainbow’ and ‘falling rainbow’ series, Gumby pushes this engagement further by introducing natural elements, such as silk dyed with plant-based pigments. Inspired by his residency in Tangier, where he experimented with natural dyes, these works offer a new sensory dimension. ‘The falling rainbow pieces are meant to extend beyond the canvas,’ Gumby shares, ‘inviting viewers to touch and feel the color, making it a part of their physical world.’ Through Prince of the Far Rainbow, Gumby presents color as a visual spectacle and as a dynamic, transformative force that reshapes how viewers understand and interact with the world. Read designboom’s full interview with the artist below!

Alteronce Gumby, image © John Edmonds

dialogue with alteronce gumby

designboom (DB): Your exhibition Prince of the Far Rainbow presents new iterations of your ‘moonwalker’ compositions, as well as ‘rainbow’ and ‘falling rainbow’ paintings. How has your two-year journey, which included experiences like the Holi festival and the Northern Lights, transformed your perception of color and your approach to painting?

Alteronce Gumby (AG): Over the past two years, I’ve had two particularly significant experiences: an Ayahuasca retreat in Costa Rica and the process of creating my documentary ‘COLOR’ with director John Campbell. The retreat showed me the power and potential of my imagination to create and explore. The documentary took me around the world, exploring color through various cultural celebrations and natural settings. These experiences have broadened my understanding of color, moving it from something that existed mainly in my imagination to a concept that connects me deeply with nature and cultures outside the United States.

Alteronce Gumby, Waves of Possibilities, image © Lance Brewer

AG continued: Through these journeys, I’ve developed a new appreciation for how color transforms and evolves. I’ve observed its progression from energy to matter, from matter to physical objects, and finally to symbols that represent ideas or memories. This process has helped me find a connection not only with myself but also with the world around me.

I’ve come to see color as more than just a visual element — it’s a bridge between different aspects of human experience. It’s fascinating to see how color can mean different things in various cultures while still having a universal impact. These experiences have expanded my worldview and deepened my appreciation for the role color plays in our lives, both personally and collectively.

Alteronce Gumby, Call Me What You Like, image © Lance Brewer

DB: In your work, you explore the energetic properties of color and how they interact with space. Could you talk more about the relationship between color, energy, and space in your ‘moonwalker’ paintings and how mirrors, gemstones, and shattered glass play a role in this dynamic?

AG: At its core, everything is energy. Color, in particular, is a fascinating manifestation of visual wavelengths that we as humans perceive when light is absorbed and reflected by various surfaces, objects, and spaces. In my artistic work, I explore this concept of energy in multiple ways.

First, my paintings incorporate mirrors to focus light. These reflective surfaces capture and redirect light within the artwork, whether it’s natural sunlight, artificial illumination, or atmospheric light. This creates a dynamic interplay between the painting and its environment, constantly changing the viewer’s experience.

Alteronce Gumby, Call Me What You Like (detail), image © Lance Brewer

AG continued: Second, I carefully select gemstones that correspond to the color palette of each painting. There’s an intriguing relationship between color and energy, which is evident even in the spectrum of visible light. Each color range has its own frequency, and similarly, gemstones emit specific frequencies related to their color. For instance, a red gemstone will resonate at a different frequency than a blue one, while a green gemstone’s energy will differ from that of a yellow stone.

Through my work, I aim to create a synergy of experiences. Viewers can engage with my paintings on multiple levels — visually, conceptually, materially, and energetically. This multifaceted approach allows for a richer, more immersive interaction with the artwork, bridging the gap between the physical and the metaphysical aspects of color and light.

By combining these elements, I strive to offer a unique perspective on how color and energy intertwine in our perception of art and the world around us. It’s my hope that this approach encourages viewers to consider the deeper, often unseen aspects of visual experiences and their connection to the fundamental energies that shape our universe.

DB: The use of mirrors in your recent works adds a layer of both literal and metaphorical reflection. How does this development connect with your initial inspiration from NASA’s cosmic photography, and how do you see the mirrors contributing to the viewer’s interaction with your work?

AG: For several years now, I’ve been captivated by images from space, particularly those captured by the Hubble and James Webb telescopes. These remarkable instruments have provided us with glimpses of distant regions of the cosmos that are beyond the reach of our unaided vision, and sometimes even beyond our wildest imagination. The technology behind these telescopes is based on their ability to focus light from these remote areas onto reflective surfaces — mirrors. These mirrors collect data, which is then decoded into a format we can comprehend and interpret.

This process of using mirrors to gain perspective on the far reaches of space led me to reflect on the everyday ritual most of us perform: looking into a mirror. It’s a daily check-in that gives us perspective on who we are and how we appear. This parallel between using mirrors to peer into the vastness of space and to look inward at ourselves fascinated me, as I saw a connection to my artistic practice.

Alteronce Gumby, Heart & Hustle, image © Lance Brewer

AG continued:  As an artist, each time I create a painting, I’m engaging in a conversation with the world outside my studio while also maintaining an internal dialogue about who I am as an artist and as a human being. This dual focus — outward and inward — is reflected in my work through the use of highly reflective surfaces in my paintings.

When viewers look at my paintings, they not only see the composition I’ve created but also glimpse the atmosphere of the room reflected in the work. Over time, as one observes these paintings, they see not just the materials – glass, acrylic paint, and gemstones — but also the world around them mirrored in the painting’s surface. Importantly, viewers can see themselves within the painting, adding another layer of engagement.

This element of reflection serves a unique purpose in my abstract works. Often, when we look at art, especially abstract pieces, we’re trying to find some aspect of representation, something we can recognize to help us decode what we’re seeing. By incorporating these reflective elements, I’m adding a layer of self-reflection to the work. It allows viewers to literally see themselves within the abstract composition, creating a more personal and dynamic interaction with the art.

Through this approach, I aim to bridge the gap between the cosmic and the personal, the abstract and the tangible, inviting viewers to explore both the outer reaches of artistic expression and their inner selves simultaneously.

DB: Your ‘rainbow’ paintings focus on the interaction between light and color, creating a spectrum more complex than what we see in nature. What draws you to the rainbow as a symbol, and how does your work expand the concept of sensory experience through color?

AG: We are, in essence, living within a rainbow. This colorful phenomenon is ever-present, though its visibility depends on our context and the interplay of light absorption and reflection. Whenever white light is present, particularly when the sun shines, the rainbow exists, whether we consciously acknowledge it or not.

For me, this concept serves as a way to recognize the abundance and omnipresence of color in our world. Even when the skies appear gray or the atmosphere seems dull, light, color, and energy are still present, albeit in less obvious forms. This understanding extends to our inner selves as well — we each possess an internal light, and the spectrum of that light is whatever we choose it to be.

Alteronce Gumby, Things I Imagined, image © Lance Brewer

AG continued: The rainbow, in my view, is a powerful symbol of abundance. It represents a connection to and appreciation for nature. More than that, it acts as a bridge between different worlds and realities. It reminds us that there’s always more to see and experience beyond our immediate perception.

This perspective encourages us to look beyond the surface, to seek out the hidden colors and energies in seemingly monochrome situations. It’s a reminder of the richness and diversity that exists in our world, both in nature and within ourselves. By recognizing this ever-present rainbow, we open ourselves to a fuller, more vibrant experience of life.

In my work and personal philosophy, I strive to embody this rainbow-like quality — embracing the full spectrum of possibilities, connecting different ideas and experiences, and always being open to the abundant beauty that surrounds us, even when it’s not immediately apparent.

Alteronce Gumby, I Dream My Painting Then I Paint My Dream (detail), image © Lance Brewer

DB: The ‘falling rainbow’ paintings incorporate dyed silks that cascade onto the gallery floor, offering a tactile dimension to your exploration of color. How did your experience at the Mothership natural dye residency in Tangier influence this series, and what do the natural dyes represent in the context of these works?

AG: For some time now, I’ve been deeply interested in natural dyes and pigments. My journey began in early 2023 when I took a class with Cara Maria Piazza, an amazing artist who introduced me to this fascinating world. This initial exposure led me to participate in a residency led by Cara at the Mothership Residency in Tangier, Morocco.

During the residency, we explored the lush garden of Yto Barada, a renowned visual artist. We gathered plants like marigolds, black-eyed Susans, and silver poplars. We also ventured into the Medina and Socco market, purchasing herbs such as madder root. Back in the studio, we used these materials to dye various silks and fabrics.

The process felt almost magical to me. We took plants that appeared to have one distinct color, and through a kind of alchemy, we transformed them into vibrant dyes that imbued fabrics with entirely new hues. This experience highlighted nature’s ability to transcend color through medium, a concept that deeply resonates with my artistic interests.

AG continued: I wanted to incorporate this insight into my paintings. Drawing inspiration from artists like Sam Gilliam, Sheila Hicks and Al Loving I set out to create works that combined various mediums. Starting with resin and gemstones, I aimed to create paintings that gave the impression of color pouring out and flowing endlessly.

This approach ties back to the idea of abundance — the color transitions from green to red, or purple to yellow, in a continuous spectrum. I incorporated gemstones such as  citrine, red jasper and turquoise, with silk dyed by; marigold, madder root, cochineal and indigo. These elements all evoke similar colors or essences — the essence of red, yellow, or blue — with materials like turquoise and indigo representing various forms of nature manifesting themselves in different ways around the same color themes.

By bringing together these diverse natural elements and pigments in my work, I’m exploring how color exists in nature in myriad forms, all interconnected yet unique. This approach allows me to create a dialogue between traditional painting techniques and the natural world, the enmeshment of and differences between artificial and natural color production. It’s my way of celebrating the abundance and versatility of color in nature while pushing the boundaries of my artistic practice.

Alteronce Gumby, image © John Edmonds

DB: Your use of gemstones like lapis, malachite, and quartz in the ‘moonwalker’ compositions adds a materiality and depth to your paintings. How do these natural elements influence the overall mood and energy of the pieces, and what do they symbolize for you?

AG: The use of gemstones in my paintings references energy, materiality, time, and the history of our planet, solar system, universe, and humanity. Lapis lazuli, for example, was one of the first gemstones humans used to make paint, with a history stretching back to ancient Egypt and Persia.

While humans have only been using these materials for artistic expression for about 6,500 years, the gemstones themselves have been forming in Earth’s crust for hundreds of millions of years. By incorporating these ancient materials into my contemporary paintings, I’m engaging in a conversation that spans vast stretches of time.

AG continued: This approach allows me to dialogue not just with contemporary art, but with the entire history of painting and pigment-making. It connects my work to the long tradition of human expression through visual arts and to the geological history of our planet.

By framing this expansive conversation through the lens of abstraction, I invite viewers to consider the relationships between color, material, time, and cosmic history without being constrained by representational forms. Each painting becomes a meeting point between the immediate present of its creation, the long history of human artistic expression, and the even longer history of our planet and universe.

In essence, using these materials allows me to have a broader conversation with the world around me, driven by the lens of abstraction and abstract painting. It’s a way of making tangible the often abstract concepts of deep time and cosmic processes, while still engaging with the rich tradition of painting.

COLOR, Alteronce Gumby’s feature documentary

DB: The concept of movement is central to your work, with the shifting appearance of the ‘moonwalker’ paintings as viewers change their position. How do you see motion shaping the experience of your art?

AG: Everything is in constant motion. Even as we sit still, we’re on a planet that’s rotating and orbiting the sun, which itself is hurtling through the vastness of the universe. Movement and motion are integral parts of life, and I aim to capture this sense in my paintings.

The moonwalker shape in my work references a sense of velocity and defying gravity. By using iridescent pigments, I create a dynamic viewing experience where the audience can interact with the painting from multiple perspectives, essentially ‘dancing’ with the artwork as they change position.

COLOR, Alteronce Gumby’s feature documentary

AG continued:  This movement in my paintings also speaks to the passage of time — the daily rise and fall of the sun, our cycle of waking and sleeping. From the moment we wake, we’re in constant motion — completing tasks, heading somewhere, doing something. Even at night, when our bodies seem still, our minds and internal processes continue their work — digesting, restoring, rebuilding, replenishing.

This sense of motion serves as a reminder for me to keep evolving my ideas and moving forward in life. However, I also incorporate moments in the paintings where the gaze can rest and meditate on details. There’s a change of pace throughout the work, mirroring the varying rhythms of life.

Motion is a continuous theme in my work, but the degree of it shifts. There are moments of rapid movement, and others where the mind and body may slow down and pause. These different ‘gears of speed’ within my work — from active motion to contemplative stillness – come naturally to me, reflecting the diverse paces of our lived experience.

By incorporating these various aspects of motion, I aim to create paintings that not only capture the constant movement of our universe but also invite viewers to engage with the work in a dynamic, multifaceted way.

project info:

exhibition title: Prince of the Far Rainbow

artist: Alteronce Gumby | @alteroncegumby

gallery: Nicola Vassell Gallery | @nicolavassellgallery

location: 138 10th Avenue, New York, NY

on view: November 2nd — December 14th, 2024

photography: © John Edmonds, Lance Brewer