A sketch · Atlanta · September 2026

Our Front Room

Catalogue the Black art you live with, and how you came by it. Photograph a piece and it writes the record.

For collectors of work by Black artists, African American and across the Diaspora.

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Or read the letter first

A collection built this way

One work, catalogued on the night it was bought.

Patrick Eugène

Born 1984, Brooklyn · Haitian American · self-taught · works in Atlanta

[first words] to Return to

Oil on canvas with handcrafted frame, 2026

The son of Haitian immigrants, Eugène makes large-scale figurative work out of a concentration in Abstract Expressionism. He photographs people first, then paints away from the photograph until what is left, in his gallery's words, evokes “the abstractionism of ancient Africa and the vibrant color palettes of Haiti.” He paints toward Beauford Delaney, Horace Pippin and Ed Clark. Mariane Ibrahim announced global representation of him in 2023, and he now shows with Jenkins Johnson. In 2025 Dior chose him as one of ten artists worldwide for its Lady Art project.

Acquired
September 19, 2026, benefit auction at the 21st Annual David C. Driskell Prize Gala, High Museum of Art
Reading
A woman alone in a warm dark room, turned toward a doorway. A painting from 2026 whose title ends to Return to.
Read from the wall label

More on Patrick Eugène

The rest of Faith's room, three works by Victor Ehikhamenor and a Jerry Lynn diptych, sits behind the same door everyone else's does.

Open the room →

Why it is called that

The front room was where you put what mattered and where you took people when they came. Michael McMillan built a whole exhibition around it, the most successful the Geffrye Museum had put on, with more than thirty-five thousand people through it, because everyone recognised the glass cabinet and the framed photographs and the things kept nice for company.

That is what this is. The room you take people to, and the record of what is in it.

Made by

Faith McCoy Scriven

Atlanta, Georgia · September 2026

Built the day after the David C. Driskell Prize Gala at the High Museum, where we bought a painting by Patrick Eugène and I realised I had no record of anything on our walls. Not the invoices, not the stories, not even reliable photographs.