“I thought [The Black Fantastic] it was a beautiful concept, both academically and personally,” says Viktor. “For me, it’s elevating this idea of blackness into a fantastical realm, which doesn’t have to be anathema to everyday blackness. I like to juggle this idea of the ‘microcosmic’: the mundane things we deal with in society, alongside the much more important conversations.”
Diaspora perspectives, emotional immediacy and creative range of ‘ordinary’ materials are key elements throughout In the Black Fantastic. In Viktor’s case, his worldview was also informed by his upbringing in Britain and the US, and his education at an international school: “For me, borders are confining, and that extends beyond our contemporary time, towards ancient cultures and histories. When human beings communicate through symbols or preverbal modes, they somehow transcend this idea of place.”
Viktor’s work projects the powerful frequencies of color: deeply hypnotic “Klein Blue”; richly meditative reds; 24 carat gold ornaments. “I’m not a big fan of ‘white wall’ galleries and the idea that white is a pure blank canvas; I don’t think that’s true either,” he says. “I always like to saturate the viewer in color and let it work in conjunction with the space.”
She has argued that telling the truth is the ultimate freedom; she reflects that mainstream recognition presents its own obstacles. “There was a naivete before; it felt very pure and sincere,” she says. “Now, there’s definitely more focus on your process, but at the same time, your job as an artist is to keep that communication clear. I love that quote from [20th-Century dance choreographer] Martha Graham: ‘You have to stay open and aware of the impulses that motivate you. Keep the channel open.'”
