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Faith's collection

What It Made For Me

These are off my own walls. I photographed them, it wrote the rest.

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

Two more, and what each one gave back

How much you get back depends on what the camera caught.

Work on paper: a poured dark form with drips running down it, ringed by looping red linework.
Read from the signature

Victor Ehikhamenor

Untitled, 2016

Ink, pigment and mixed media on paper

A poured dark form with the drips left where they ran, ringed by looping red linework. Ink black against the pale ground of the paper.

ink blackpale greyred

He signs his whole name and the year, lower right, on every sheet. That made this the easiest work in the house to place: no label needed, and the year came off the signature with the name.

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Diptych: a crowd of Black figures under trees on the left, a congregation outside a white clapboard church on the right.
Read from the signature

Jerry Lynn

Untitled diptych

Acrylic and mixed media on canvas, two panels

A crowd gathered under trees on one panel, a congregation outside a white clapboard church on the other. Warm ochre and clay against a bone-coloured sky.

boneochreclay

The signature, lower right on both canvases, was the only thing on this painting that could be read. So there is a name and nothing else: no title, no year, no dimensions. That is the difference a label makes.

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A label gives you the whole record. A signature gives you a name and little else. With neither, it tells you it found nothing rather than putting a name to it.

Back to yours

Another one off your own wall, if you have the patience.

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