Andrae Green, Icarus II: Flight. Oil and acrylic on aluminum and canvas, 128''x92''. 2025.Andrae Green, Icarus II: Flight. Oil and acrylic on aluminum and canvas, 128''x92''. 2025.Opening Reception: Friday, August 15 | 6–9PM
On view: August 16—November 8, 2025
Paradise/Mash-Up presents a striking collection of new and recent paintings by Andrae Green that explore the deep emotional terrain of memory and identity. With a focus on the tender intimacies of everyday life and personal relationships, Green reexamines his deep connection to his hometown of Kingston, Jamaica, while also celebrating the rich history of the Jamaican diaspora in Boston, Massachusetts.
Both port cities, Kingston and Boston, share layered maritime legacies shaped by colonialism, migration, and resilience. Through Green’s lens, these histories collide and coalesce, creating a vibrant visual language that speaks to the ancestral, cultural, and emotional aspects of both places. The tension between losing and belonging is palpable throughout the exhibition, capturing the complex push and pull of the diasporic experience.
Green’s work channels this sense of displacement through his signature use of fragmental imagery. The artist crafts a “mash-up”–a term in Jamaican Patois meaning broken or transformed–blending dreamlike scenes rooted in time, and geography. The resulting compositions are poetic and disorienting, offering viewers an invitation to navigate the blurred boundaries between past and present, paradise, and exile.
Paradise/Mash-up is both a celebration and an interrogation of heritage, of home, and the shifting tides that shape diasporic identity. The layered visual narrative of the works reflects both the beauty and the fragmentation of lived experience.
Public Programs
Opening Reception
Friday, August 15, 2025 | 6–9 PM
BCA Mills Gallery, 551 Tremont St., Boston, MA 02116
More coming soon…
About the
Artist
Originally from Kingston, Jamaica, Andrae Green is a painter whose work blends existential themes with resilience, drawing from early experiences of art as refuge amid social and economic hardship. Now based in Western Massachusetts, he explores the emotional and spiritual dimensions of family, memory, and vulnerability through a lens shaped by speculative fiction and Judeo-Christian symbolism. Green holds an MFA from the New York Academy of Art and has exhibited internationally, including at the National Gallery of Jamaica, Maddox Gallery, and the Louvre’s Carrousel. He has represented Jamaica at the Beijing Biennale and recently held his first solo museum show, Palindrome: Back to Hope, at the Art Complex Museum. In 2024, he will exhibit in Against Dystopia, curated by nico w. okoro at Diane Rosenstein Gallery.
About the
Curators
Natalie De Jesus is the co-founder of NALA Projects, where she leads strategic initiatives at the intersection of art, education, and community engagement. She previously worked in The Met’s Art of Ancient Americas department, focusing on contemporary programming and Latin American and Caribbean art, and supporting major exhibitions and international loans. Her experience spans institutions including the Guggenheim’s Learning Through Art Program, Lisson Gallery, Company Gallery, Hauser & Wirth, and the 9/11 Museum. De Jesus has curated for BronxArtSpace and the Bronx Council on the Arts and written for The Latinx Project at NYU. She is currently pursuing a Master’s in Educational Planning, Economics, and Development at University College London.
Tiarra Inez Brown is an independent curator and art historian whose work explores Black visual culture, diasporic identity, and transnational modern and contemporary art. With a research-driven, community-informed approach, she seeks to amplify historically marginalized narratives and reimagine cultural memory and heritage. She was part of the curatorial team for Harlem Renaissance and Transatlantic Modernism at The Met, and has contributed to exhibitions including Juan de Pareja, Afro-Hispanic Painter (The Met) and At the Dawn of a New Age (Whitney Museum). Across these projects, Brown brings critical perspectives on race, identity, and global exchange to the reinterpretation of art history.
IN THE PRESS
Stay tuned…
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