The art of destruction and creation: Exploring identity and spirituality in the work of Alexis Peskine

‘Born in Paris into a family rich with cultural and artistic influence, Peskine’s identity is shaped by his Afro-Brazilian heritage and his French-Lithuanian roots’

Originally published on Global Voices

Alexis Peskine is a visionary artist whose work seamlessly fuses materiality with metaphor, invoking both aesthetic grace and profound cultural resonance. Peskine's distinctive technique employs nails hammered into wooden surfaces, creating a tactile dialogue between destruction and construction.

His work, which often explores the complexities of Afro-descendant identity, embodies a raw yet harmonious intersection of spirituality, historical memory, and collective consciousness. Peskine’s art transcends the confines of portraiture, offering instead a visual language that speaks to the collective soul, capturing the nuances of strength, vulnerability, and transformation.

Born in 1979 in Paris into a family rich with cultural and artistic influence, Peskine’s identity is shaped by his Afro-Brazilian heritage and his French-Lithuanian roots. His father, an architect, and his grandfather, a carpenter from the island of Itaparica in the state of Bahia in Brazil, who raised Peskin's mother in Salvador, Bahia, instilled in him a deep appreciation for craftsmanship, while his mother’s Afro-Brazilian lineage connected him to the spiritual practices and cultural legacies of the African diaspora.

Raised in a household in Issy-les-Moulineaux, a city in southwestern Paris that revered art, Peskine was encouraged to develop his creative voice, drawing upon the stories and experiences of his lineage. His work is, therefore, not just an aesthetic pursuit but an ongoing exploration of justice, healing, and spiritual awakening.

Peskine’s formal education at Howard University and the Maryland Institute College of Art (MICA) in the United States laid the foundation for his technical expertise. Yet, his artistic vision has expanded far beyond the classroom. Currently based in Paris, he continues to evolve as a dynamic presence in the global art scene. His recent solo exhibition, “Forest Figures,” at October Gallery in London (October 3 – November 9, 2024), marked a significant moment in his career, showcasing a body of work that blends spiritual introspection with a radical exploration of form.

In an interview with Global Voices, Peskine delves into the evolution of his practice, the influence of his familial and cultural background, and the shifting focus of his recent work — from politically charged to spiritually resonant. Through his work, Peskine offers a bold visual language that seeks not only to represent but to heal, bridging the material and immaterial realms with every stroke of the nail.

Excerpts from the interview follow: 

Omid Memarian (OM): Your work often incorporates nails hammered into wooden surfaces. Can you explain the technical process behind this technique and how you developed it over time?

Alexis Peskine (AP): I first considered using nails at Howard University. My mixed media teacher, Professor Sorrels Adewale, encouraged us to think about materials as metaphors. My work has always centered on the Afro-descendant experience, influenced by my upbringing in France, Afro-Brazilian heritage, and time spent in various Black American cities and 33 African countries.

Initially drawn to silkscreen printmaking, I experimented with dot patterns to explore the historical significance of our people. My interest in nails grew after learning about the Minkisi Nkondi power figures from the Congo, sculptures adorned with nails. This concept of destruction and creation resonated with me. When I arrived at the Maryland Institute College of Art (MICA), I was inspired by a wooden board left behind by the previous occupant and began using nails in 2004.

My process starts with a photograph, which I translate into dot patterns using computer software, mimicking the values of gray through dots of different sizes. I reverse the typical process by using a black silhouette with white dots to represent light areas, creating portraits illuminated by natural sunlight.

OM: How has your childhood and upbringing influenced the themes and techniques you explore in your art today?

AP: My father is French and Lithuanian, while my mother is Afro-Brazilian. My grandfather, born in St. Petersburg, Russia, survived a concentration camp in France. These experiences, along with my Brazilian roots, shaped my values. I grew up in a family of artists and creators: my great-grandmother worked in a hardware store, my grandfather was a carpenter, and my father is an architect. My artistic inclinations were encouraged from a young age.

These influences instilled a deep sense of justice and fairness in me, which I channel into my work. It’s made me sensitive to the world around me, shaping how I express my thoughts through art.

OM: The first experience is beauty and harmony when we see your work. How does this complex concept resonate with your audiences?

AP: My goal is to represent both softness and strength, sensibility and abundance — qualities that reflect our people. The power in my work isn’t about domination; it’s a softer, more nuanced form — an aura rather than an aggressive force. This resonates with viewers because it reflects the spirit of those portrayed, not just portraits of individuals but representations of a collective soul. The subjects give their energy to the work, which connects with the viewers.

OM: You address complex social and political issues. How do you balance the technical precision of your pieces with the emotional and political messages they convey?

AP: My early work was intellectual and political, but in the last decade, my focus shifted toward art's spiritual and energetic aspects. While politics affects us all, I believe my recent work transcends immediate issues. It connects to something timeless, aiming for balance, harmony, and peace. What viewers feel from the work goes beyond politics and reaches into a deeper, more universal realm of experience.

OM: Can you tell me which artists or movements have had the most significant influence on your work?

AP: My first influence was my family. My parents encouraged my artistic pursuits, and my aunt, who ran an industrial design company, gave me a strong design foundation. At Howard, I was introduced to figures like Aaron Douglas, Jacob Lawrence and writers like Toni Morrison. The Negritude movement deeply resonated with me. I realized I wasn’t alone in my journey as an Afro-descendant artist.

Artists like Basquiat, Kara Walker, Hank Willis Thomas, and my friends — Zak Ové, Fahamu Pécou, and Zana Masombuka — have influenced me. Conversations and exhibitions with them have shaped my perspective. My brothers, who are involved in music and film, have also been a major influence. We critique one another's work, pushing each other to grow.

OM: I think art schools in the U.S. tend to be a bit kinder when critiquing work.

AP: At Howard and MICA, critiques were harsh, even from classmates who didn’t always understand the references in my work. This helped me learn to accept feedback, discern its value, and understand that critique is part of growth as an artist.

OM: How do you decide what themes to depict in your work? If it’s a portrait, how do you choose the subject? What drives your choice of technique, or do you prefer sculpture?

AP: My studio is small, so I take a different approach from artists who work nonstop. Instead, I walk and let my spirit guide me, absorbing ideas and making mental notes. I create bodies of work rather than individual pieces, expressing my feelings at specific points in my life.

For example, “Forest Figures” came after my residency in rural Cameroon, where I faced a life-threatening experience. This event sparked a need for peace and healing. The work evolved from the more political “Fire Figures,” which reflected my feelings of revolt during the George Floyd protests, to the more spiritual “Forest Figures,” which explore healing and reconnection with nature.

OM: The art world has become complicated with art fairs, galleries, exhibitions, and money involved. What’s your advice to emerging artists looking to find their voice in the contemporary art world?

AP: Always look inward and pay attention to how you feel and what you want to express. Don’t hesitate to explore what you love and understand yourself. Early on, I wanted to develop my own visual language, and I admired artists who created distinct, resonating works.

Create with purity — don’t focus on commercial concerns while you’re making art. Once your work is done, find ways to make it visible. Social media today makes it easier than ever to share your art worldwide, reaching people who will connect with your expression.

While having a gallery is beneficial, as I learned through my experience with October Gallery, it's not the only way. When I started, I walked around with a portfolio, went to galleries and art fairs, and tried to get my work seen. Ultimately, gallery representation helps, but you can create your own path.

Success in art comes down to drive, curiosity, and a willingness to ask questions. Teachers don’t always need to be formally recognized. If you have a mentor, whether in school or outside, appreciate those who help you along the way.

Learning to talk about your work is essential — whether you're in school or not. Being able to articulate your vision is as important as the art itself. If you can’t do it, find someone who can write or talk about it for you.

Written by Omid Memarian