Shana Nys Dambrot
Emmanuel Louisnord Desir makes painting, assemblage, and sculpture that sings a strange song of ancient times and modern life, mysticism, empire, religions of the book, global diaspora and allegorical testimony. Within this ambitious framework, Desir’s stylistic approach is omnivorous in its influences and yields an edgy, folk-infused surrealism. His contorted arks, sweeping scenic histories, individual creatures of human, animal, and otherwise unknown origin all combine and consort, arraying themselves inside symbol-rich political and personal parables—as inscrutable and poetic as biblical verses, but also just as clear in their intention to impart a higher message. With his large-scale painting, The Fall of Babylon, Desir contributes a perspective of faith to the biennial’s focus on everyday life as inspiration.
Emmanuel Louisnord Desir, The Fall of Babylon, 2023, Oil on wood, 48 × 68 in (Private Collection. Photo: Joerg Lohse. Courtesy of 47 Canal)
L.A. WEEKLY: When did you first know you were an artist?
EMMANUEL LOUISNORD DESIR: There was never a distinctive moment where I thought of myself as an artist. Creativity has always been around me due to my father and older siblings. Drawing and painting was something I did as a way to bond with my family at a young age. Looking back on my past, the need to make art has always persisted.
What is your short answer to people who ask what your work is about?
I would say my art is an exploration of my different fascinations in biblical history, spirituality, and objecthood. It strives to shed light on the many diasporic histories of old, and the effects of this in today’s reality. It aims to uplift the integrity of the many who have been marginalized, exploited, and deprived of their history.
What would you be doing if you weren’t an artist?
If I wasn’t making art today, I probably wouldn’t even be alive.
Installation view, Emmanuel Louisnord Desir, Prisoners of Hope, 2021, François Ghebaly, Los Angeles
Did you go to art school? Why/Why not?
Cooper Union School of Art.
Why do you live and work in L.A., and not elsewhere?
I think about moving back to New York once a week, haha! L.A. still feels like a new world to me. I find that the inspiration I get from the different facets of the city and the culture here bleed into the way I use material and abstraction to articulate my thoughts through art. It also feels like the artists I’ve gotten to know in L.A. are all really immersed in their practices in a refreshing way, inspiring me to keep striving for growth in my own practice.
When was your first show?
“Swing Low Sweet Chariot” at 47 Canal, NYC, Summer 2020.
Emmanuel Louisnord Desir: Abraham and Isaac at Mt. Moriah, 2022 (Photo: Ruben Diaz. Courtesy of 47 Canal)
When is/was your current/most recent/next show or project?
The Hammer is ending on December 31; then I’ll be participating in a few art fairs this and next year, but primarily focused on developing the practice and uncovering new ways to express myself. I’m considering a few group shows and solo show options but nothing is finalized at the moment.
What artist living or dead would you most like to show or work with?
Augusta Savage, Martin Puryear, Caravaggio, Kanye West, John and Alice Coltrane, Miles Davis, Jimi Hendrix, Thaddeus G. Mosley, Wangechi Mutu, Roy Lichtenstein, Kevin Beasley, Alfonso Gonzalez, Mario Ayala, Ryan Preciado, Diego Rivera.
Do you listen to music while you work? If so,
No, my tools are too loud to hear anything, haha!
Social media:
IG: @Turboglitchy
Emmanuel Louisnord Desir: Home of the Free, Land of the Brave, 2022 (Photo: Ruben Diaz. Courtesy of 47 Canal)
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