Janice Frame, a renowned artist and longtime Island resident, conveys the radiance and strength of African people, as well as the importance of community, in her arresting new works at the Eisenhauer Gallery this summer.
Standing before Frame’s mixed-media art is a visceral experience. Their stunning colors, textures, and images lift the spirit. Each one sings with an intensity that resonates within.
Her piece “Shared Visions, Beyond Today” is a poignant example in which a couple stands, hands clasped, backs to us, looking out over the vast African landscape rendered in translucent and opaque watercolor. Frame explains, “Couples have to hold onto each other today to move forward. They depend on each other in this climate. Black men need Black women, and Black women need Black men.”
Frame shares about her series, “My goal is for Black viewers to see themselves represented authentically and with dignity. Until we understand who we are, we’re lost. For non-Black audiences, it’s an invitation to view Africans as complex, nuanced individuals. My art is a reflection of humanity, and aims to evoke a sense of shared experience.”
She notes that her art is deeply rooted in the rich diversity of Africa and its people: “The beauty of African people is both diverse and profound. They reflect the continent’s rich tapestry of cultures, ethnicities, histories, and traditions.”
The series features many excellent, large portraits of African women and men who gaze directly into our souls. This is evident in the stunning work “Manhood” of a young African man wearing a glorious collar and enormous, dangling earrings that set off his sculpted face.
Frame says that her creative process begins by searching the internet for figures that catch her eye and resonate on a personal level. “This connection is vital, as it forms the foundation of the story I want to tell. The images are just so beautiful; tears fall,” she explains. “This is my lineage, my history, and I’m so aware of that. It defines me.”
Frame’s work, “Facing Myself, Facing My Beauty,” exemplifies this sentiment. Two regal heads gaze up and outward. The golden hues and flowing hair meet in a transparent orb, lending a celestial air: “I am trying to awaken African Americans here who don’t understand our dignity, royalty, and power, that they need to face who they are,” Frame says.
After selecting a figure, such as the one in “Etched in Tradition,” Frame delves into research on ancestors, spirit guides, tribal dress, adornments, traditional tales, and other aspects to ensure that her art is as accurate as possible. She then prints the figure, which serves as the jumping-off point, laying it on a background of patterned rice paper and enriching the composition with additional cut paper, paint, and small elements such as cowrie shells and beads, which add a three-dimensional quality to the work. The resulting artifacts, face painting, and motifs symbolize tribal identity and status, as well as broader themes like fertility, power, and unity. Finally, Frame seals the entire mixed-media piece with resin, creating a transparent layer that imparts a shiny, jewel-like quality.
The result is a glorious celebration and tribute to the African individuals portrayed. “The inhabitants of the continent display a wide range of skin tones, hair types, and facial features, all contributing to a unique and captivating beauty,” Frame says. “From the varied shades of brown to the rich textures of natural hairstyles, African people embody a stunning physical diversity.”
It’s easy to see this in “Women’s Stories,” an ode to her group of strong female friends. Here, three gorgeously attired and adorned women look directly at us with an unwavering gaze. A plethora of designs slip and slide along the surface of the work, revealing Frame’s mastery of collage and her ability to unify a composition bursting with lifeforce.
Frame’s art goes beyond visual beauty. There is an innate spiritual power to the pieces that connects each portrait to something larger. “Africa is imbued with spirituality, reflected in various traditional beliefs and rituals. This spiritual connection serves as a personal muse, inspiring me to explore the interconnectedness of all beings, inviting viewers to contemplate the deeper meanings behind my work,” she says.
Asked about her childhood, Frame cites her mother’s artistic flair and strong support of her talent. “My mother was one of Ebony Magazine’s 10 best-dressed women in the country. She went to the wildest boutiques, searching for what was creative and interesting. She had that knack for putting things together, and I think that’s why she understood who I was. That was the gift — she saw me.” Frame’s earliest interest was dance, and she studied with the famed New York City Ballet ballerina Suzanne Farrell in third grade. “I loved it. It was my only way of self-expression,” Frame recalls.
All that changed when Frame’s ninth-grade art teacher recognized her gift. “He saw that I loved it. When I did art, the whole day, the time, everything went away. Mom saw that and said, ‘This is what you do, and this is who you are.’”
Frame went on to Fisk University, earning a bachelor of fine arts degree with a specialization in fiber, textiles, and art education. She describes her work at the time as “pretty pictures.” Then she met Leo Frame, a fellow student who was very involved in Black culture during the late 1960s, whom she would later marry. “Leo challenged me, asking, ‘Who are you? You have to get out of these flowers and landscapes. You have to speak through your culture.’ But I didn’t understand that at the time.”
Frame’s transformative journey to creating art that was authentically hers began when she saw Angela Fisher and Carol Beckwith’s photography book, “Africa Adorned,” which accompanied an exhibition of the same name. “I said, ‘This is me,’” she recalls. “This is where I come from. We don’t need to be Westernized. Why don’t we see the beauty in who we are? The photos of the African diaspora evoked emotional responses within me, [and] awakened a true passion, making me feel alive and fulfilled.”
Frame’s initial response was to create arresting 24-by-6-inch African figures, or “dolls,” which she dressed regally in traditional African garments, the same textiles that now populate her mixed-media collages. For Frame, each figure’s majesty and beauty evokes a sense of heritage. “Those dolls, they joined me in an expression,” she says.
After the dolls, Frame delved into watercolors, oil painting, and collage. Then, about eight years ago, Frame lit upon her mixed-media African portraits.
Elizabeth Eisenhauer, who represents Frame at her gallery, says, “In her new body of work, Janice expands her visual language, introducing multiple figures into expansive, often symbolic landscapes. Among her signature strong, clear-eyed women, we now glimpse men and women draped in tribal garments, cradling baskets, alongside spirited children and vivid bursts of birdlife. These additions pulse with narrative tension and quiet harmony, drawing us deeper into a world where memory and identity intertwine.”
Frame long shared her passion for art with countless children as a devoted teacher for more than 35 years, including in the Vineyard schools, after she and Leo moved to the Island year-round in 1985. Inspired by her path, Frame helped students draw from personal experiences to discover their artistic voice. Retired from teaching since 2013, Frame has pursued her ever-evolving art full-time. Reflecting on what’s next, she says, “Sometimes I don’t know where to go with the portraits, but they’re not done yet. What should I do now? I’ve shown the beauty, but how can I make it part of people’s lives, and the understanding of it all?” Taking in her remarkable artwork over the years, I eagerly await Frame’s next chapter.
Janice Frame’s work can be seen at Eisenhauer Gallery, 38 North Water St., in Edgartown. The reception for her show will take place on Sunday, August 3, from 6 to 8 pm. For more information, visit eisenhauergallery.com/collections/janice-frame.
