Social commentary is at the core of the work by John Acorn, Colin Quashie and Aldwyth. Quashie and Aldwyth make commentary, particularly around issues of race, that is often so pointed and sometimes controversial that neither artist is exhibited as often as they should be.
- Mary Bentz Gilkerson
Columbia Free Times: - Triennial: Revisited Offers Distilled Look at S.C. Art Trends
Colin Quashie’s Linked series supports his audience in achieving insight, greater self-awareness, and sociocultural epiphany regarding the synthesis of experience. Using a montage of re-contextualized images juxtaposed in unexpected visual associations forming a visible, sociocultural “DNA”, Quashie coheres ideological connections that, as his audience, we might prefer not to see, not to consider, and not to discuss.
- Frank Martin
Object, Presence, & Reasoning: - Colin Quashie’s Linked Series as Conversational Implicatures
If you're expecting a subtle, tasteful discussion of social justice issues in contemporary American culture, then Colin Quashie is not the artist for you. But if you are moved by engaged visual criticism and see its potential to have an immediate impact on viewers then you'll love Quashie's unflinching examination of the lingering effects of racism in contemporary American culture.
Undefined Magazine 16
Contrast that with "Looked Away, Dixieland (Strom's Song)" by Colin Quashie, the most fearless artist in the show. The point of Quashie's painting, and of its juxtaposition with the historical portraits, is clear: History is not free. Belief in one view, or another, comes with a price.
- Robert Maschal
Charlotte Observer - A Fresh Look at Symbols of the South
(Quashie's) “Portal” is in part a commentary on painting, a work of sculpture, public art, art as social commentary,art as tourist diversion, and art as politics, fused into a single performance, but it is in any case an intricate, complex, deeply thoughtful, yet simultaneously glib and jocular consideration of a typically American series of cultural problems.
- Frank Martin
Post & Courier SPOLETO Today - Quashie’s Portal: Looking for meanings in monuments
Quashie’s paintings range from the savage satire and bumper sticker bluntness of Andy Warhol-like pop art, to subtle, moody realism.
- Rick de Yampert
THE DAYTONA BEACH NEWS JOURNAL - “Artist, an equal opportunity agitator”
As they continue into Redux, visitors will see screenprints, acrylic paintings, mixed-media, and more. Quashie is a rare artist who balances quality and quantity, and as impressive as his ideas are the many ways he chooses to express them.
- Susan Cohen
Charleston City Paper - Colin Quashie's pointed response to the world around him
One black artist who participated in this year's festival, Colin Quashie, built a free-standing window and moved it to several spots around Charleston where African-American history unfolded but where there is no marker or memorial. "Charleston is a town that sells itself on its history, but it only markets certain kinds of history," Mr. Quashie said.
- Stephen Kinzer
New York Times - A Planned Museum Would Lead Charleston to it's Past
Quashie uses humor to make very pointed social commentary. There is a perfect balance in his work between image and text. Cool and controlled though his technique may be, there is no lack of passion in his work. Neither is there any distance between his subject and his own life.
- Mary Bentz Gilkerson
Free Times - Cerebral Approaches Dominate Triennial 2004
The power of this presentation is the fact that Quashie has now chosen to segregate the images of blacks even as they are gradually being included in the official canons of history. This separation is itself politically interesting and significant. Quashie has elliptically attacked the racial context of the commission for the mural, despite or because it is intended as an homage to Civil Rights and “black” history.
- Frank Martin, PhD
Daily Serving - Colin Quashie: Service
Another potent three-dimensional work is Colin Quashie’s Plantation Monopoly. Replicating the Monopoly game board, Quashie redefines the meaning of “property” by changing the houses and hotels into plantations — “Magnolia,” “Boone Hall,” “Drayton Hall,” “Middleton Place” — and including the value of the enslaved population as part of each mortgage.
- Tom Mack
The shock of slavery and racism was best conveyed to me by the work of Colin Quashie, a contemporary artist living in Charleston. “Plantation (plan-ta-shun)”, the exhibit of his work at the Redux Contemporary Art Center in Charleston, struck me in gut.
- Arthur Dobrin D.S.W.
Psychology Today - Helping Us to Remember Correctly:
The Art of Colin Quashie: Psychic pain and historic truths aren’t good for business.
His work is notable for its combination of pristine technique, witty titles, explicit social and political commentary and wide-ranging use of various media.
- Adam Parker
The Post & Courier - Charleston artist links slavery to American figures of history with provocative illustrations
Quashie is a nationally significant artist that happens to live in Charleston. I think his work offers a scathing critique of America. His voice is strong, his ideas provocative, and his message is essential.
Charleston City Paper - 'Colin Quashie’s pointed response to the world around him'
Charleston-based Colin Quashie mines the darker parts of American history, digitally manipulating archival images to give them added context and more nuanced meanings.
- Chandra Noyes
Art & Object - 'Linking the Past and Present: How Two Artists Examine the History of Racism in America'
Quashie, who has been a Halsey featured artist three times, including an early 1994 show, one of Sloan’s first, and almost the new director’s last.
- Stephanie Hunt
Charleston Magazine, 'Meet The Wild, Weird, & Wonderful Mr. Sloan
"Quashie, you should know, is a perfectionist, someone who often works from photographs and products that rely on commercial graphic design and meticulously creates versions of these images by hand. He has a fine eye for detail and an acerbic talent for social criticism."
- Adam Parker
"Quashie’s vision is nothing like the modern money shots of hanging moss and white weddings you’ll see on decadent blogs or in a luxury magazine — his is harsher and truer to their dark history."
- Susan Cohen