“The reaction was instant,” Scott Kerr said of the art he saw hanging on the walls of a popular South city hip-hop spot nearly two years ago. “I said, ‘This is genius-level quality’.”
It isn’t a compliment that Kerr just throws around. His family has been in the art business since 1840 by way of McCaughen & Burr Fine Arts – the oldest continuously operating art gallery west of the Mississippi River.
If 32 years of looking at art for a living has taught Kerr anything, it’s to know something special when he sees it. It was suggested that Kerr stopped by Blank Space on Cherokee to check out the work of an emerging local artist. The one-stop shop for the progressive creatives within the hip-hop community became the place where he discovered visual artist Roland Burrow.
He was so impressed with Burrow’s work, that McCaughen & Burr Fine Arts came to represent him. His “The Renaissance Revolution” exhibition opened at their Webster Groves Gallery two weeks ago. It will remain on display for another two weeks. The journey from Kerr’s discovery to the exhibition was a year-and-a-half in the making – and the beginning of what Kerr hopes (and expects) to be a national and international presence for Burrow, just as the industry has made space for the likes of Kehinde Wiley and Kerry James Marshall.
“He’s a generational artist – and one that will stand the test of time,” Kerr said. “His work connects with everyone who sees it.”
It certainly did with the guests who browsed the gallery. The exhibition is mostly portrait work. Burrow captures the beauty of blackness in many forms – and in his own unique way. In “Bakay” the detail on his subject’s perfectly lined box haircut rivals that of a masterful barber. “Iris” was a flower dripping with swag, thanks to gold undertones and neon accents.
It was an amazing introduction for Burrow. And Kerr feels it is only the beginning.
While other kids were outside playing, Roland Burrow was drawing. His mother kept their home stocked with art supplies, which he used mostly to recreate cartoon characters.
He enjoyed drawing Teenage Mutant Ninja Turtles most of all. A pop culture phenomenon of the late 1980s and early 90s, the crimefighting crew of turtles were raised and mentored by a rat to fight off crime and peril in New York City. They happened to be named after four great Italian Renaissance artists, Donatello, Raphael, Leonardo (DaVinci) and Michelangelo – which was his favorite to draw.
“I never made that connection until right now,” Burrow said with amusement. The artist who inspired the cartoon characters’ name has since made the list of people who have inspired him on his creative journey.
Burrow could easily be one of the interesting portraits he creates with his dark glasses (in the daytime), free form fade, mesh sleeveless shirt and kicks with zebra print and bling accented Velcro straps. He is quiet, but not shy. He doesn’t waste words. Each one comes as the result of an intentional thought. He doesn’t seem particularly keen on talking about himself. He later confessed that he’d rather have the art speak for him.
“Who I am doesn’t’ matter,” Burrow said. “What I leave behind matters.”
His formal arts training began at McCluer High School and continued at University of Missouri-St. Louis, where he received a Bachelor of Arts in in Fine Arts Studies. Most of his art in “The Renaissance Revolution,” which is inspired by both the European Renaissance and The Harlem Renaissance, features imagery of the African American experience.
His goal is portraying his subjects in a positive light, for the sake of his community – and himself personally.
“Growing up on the North Side, growing up black, leaves little opportunity to view your community in a positive light. Historically, the images seen of the black community are of slavery, gangs, thugs and poverty,” Burrow said in the companion booklet for the exhibition. “The people that I paint are drawn from everyday scenes from my community.”
They are paintings of black people by a black artist, he doesn’t see them as black art. Burrow feels his work reflects his interpretation of humanity – the world as he sees it. He feels that the work and other artists of color should be categorized in the same way, as opposed to “black art.”
“I intend to use my art to create a bridge of understanding between black and white communities and begin to close the divide,” Burrow said. “The whole point of my art is to have everybody connect with it.”
He is particularly proud of the work he did with Sara Kerr, Scott Kerr’s daughter – who is also a part of McCaughen & Burr Fine Arts team – in bringing historical snapshots of black life in St. Louis around the first few decades of the 20th century.
“I enjoyed putting the pieces together to make these historical paintings that are a visual reflection of what happened,” Burrow said. “You hear stories and read words, but there isn’t very much imagery to show about that time. It was a lot of pressure, kind of like films that are based on true stories that spark arguments and debate about accuracy, but I enjoyed the challenge.”
He’s also enjoying the partnership that has grown between him, the Kerr family and their gallery.
“It’s a blessing,” Burrow said. “I want to work for people who have a love for the work I do, not just to make money.”
Burrow also wants to inspire other artists – especially to invest in themselves and have faith enough in their talent to pursue their passion.
“There’s a lot of hustle, but you just have to put as much effort into working for yourself as you would working for somebody else,” Burrow said. “You won’t make it if you waste your time thinking, ‘What if I don’t make it?’”
You have to make the decision that you will make it and go from there.”
“The Renaissance Revolution” is currently on display at McCaughen & Burr Fine Arts, 117 West Lockwood, Webster Groves, Mo. 63119. For more information, visit www.mccaughenandburr.com or call (314) 961-7786.
