Instagram story viewer> @jerrellgibbs> Tagged

Jerrell Gibbs

@jerrellgibbs

20.5K

followers

2547

following

Solo exhibit: “Come home with me” on view @baltimoremuseumofart until May 27’
M|I|C/A 20’ Hoffberger
Representation: @galeriemyrtis @bode.gallery

POSTS STORIES REELS TAGGED

God is good. Check out my latest article in @forbes phenomenally written by Chad Scott. Link in bio. Let’s goooooooo!!!!

681

99

@earlhopkins_ of the @phillyinquirer thank you for this incredible piece. Painting not just a portrait, but a story of legacy, memory, and community. This resonates in a deeply human way. Much appreciated 🙏🏾

If you haven’t read it yet, go check it out! Link in my bio!

586

49

Link to article in my bio!
Major thanks to @essence and the homie @coolhandoak for the phenomenal work. 🙏🏾🙏🏾✊🏾✊🏾

355

30

Hard to believe it’s been a week since the opening of my survey exhibition No Solace in the Shade at the @brandywinemuseum curated by @angela_n_carroll . To those who took the time to join me at the opening, thank you 🙏🏾. If you have yet to see the exhibition, run to see No Solace in the Shade

321

10

Let’s goooo!!!! See you Saturday

342

19

See y’all at @thearmoryshow today! Booth F1 @galeriemyrtis stop by, I’ll be around. My latest painting Carnations, Lilies, a lilies, Roses and Lightning bugs will be on view.

Carnations, Lilies, Lilies, Roses, and Lightening Bugs
Oil on canvas
60 x 50 in
152.4 x 127
8/25

Inspired by the atmospheric qualities of John’s Singer Sargent’s Carnation, Lily, Lily, Rose, Gibbs reflects on his own experiences growing up in Baltimore, Maryland, the most northern part of the southern states, and staying with family in the South, particularly Blackstone, Virginia. Gibbs would spend summers immersed in a childlike sense of wonder surrounded by the rhythms of nature. His work draws on the memory of those summer nights filled with the soft flicker of fireflies, known locally as “lightning bugs”, whose patterns of soft synchronized glow transformed the landscape into something magical. Like Sargent’s use of light to evoke a specific time of day and emotional resonance, Gibbs explores how light in the southern nightscape becomes a symbol of life, memory, and abundance. His connection to the natural world is personal and grounded in place, capturing the quiet, fleeting beauty of the southern environment through his own visual language. Through color, light, and natural imagery, he aims to reflect on the beauty and complexity of place, and how it informs identity, memory, and the experience of life itself.

236

9

On display @galeriemyrtis today for the group show “The Brave” 2-6pm opening reception Stop by and check it out!

This painting reflects my personal connection to my maternal family’s history as migrants from the South to the North. My mother’s side of the family comes from Blackstone, Virginia, a place deeply rooted in our history.

For me, migration has often carried a negative association, largely because, in the context of Black history, it was rarely a choice made for pleasure or exploration. Instead, it was driven by necessity. Black families from the South moved north in search of better living conditions, more opportunities, or simply to find refuge after displacement. There was always a sense of urgency, a need to go, not a desire to leave.

That urgency meant things were often left behind, both physically and emotionally. In my own experience, each family move, whether I was part of it or not, was marked by that same hurried, unsettled feeling. The transitions were rarely smooth or joyful.

This painting captures the unease of being uprooted, the discomfort of displacement, and the emotional weight that migration carries. Especially when it’s born out of survival rather than choice.

Title: Grab a few things, and hurry up we gotta go
Medium: Acrylic, gouache on paper
Dimensions: 50 x 38 in (unframed)
Date: 7/25
#jerrellgibbs
#salvador

392

7

Thank you Victoria L. Valentine for covering Language of Tears in @culturetype @jamescohangallery ! Link to article in my bio! Show on view until June 15th!
#jerrellgibbs

200

8

God is great! 🙏🏾

Repost from @brandywinemuseum
•
We couldn’t be more excited to announce an exciting new exhibition we’re organizing focusing on artist @jerrellgibbs that will be open at the @brandywinemuseum in May 2025! Gibbs has created a highly personal body of work that draws upon vivid childhood memories of family and the city of Baltimore, where he was born and works today.

Brandywine’s director, @thomas_padon, calls Gibbs “one of the most talented painters of his generation.” The guest curator for this mid-career survey—the artist’s first one-person museum exhibition—will be the amazing curator, professor, and historian @angela_n_carroll. Click our #LinkInBio to learn more!

#JerrellGibbs #BrandywineMuseumOfArt

📸: From L-R: Angela N. Carroll, Jerrell Gibbs, and Thomas Padon

618

69

Three days away! God is good🙏🏾
Opening @easydoesitcuratorialspace 10/6 6-8pm

Land of the...
Oil, oil stick on canvas
70 1/8 x 70 1⁄4 in
178.11 x 178.44 cm
5/23
#jerrellgibbs

Excerpt from @terimhenderson

“The paintings range from abstract landscapes to figurative representations of Gibbs’ reality. The works in the show are full of nostalgia. I see them and hear fireflies from my summers growing up in Arkansas, Texas, and Baltimore. I can smell the chlorine from the YMCA pool, where I learned to swim one summer. I see myself, I see my cousins, I see my mom, I see my brother.

Gibbs paintings of Black people engaged in leisure, which we are due. Although we might not see reparations in our lifetime, I see these images as nods to the possibility of when Black folks are given their due. During our studio visit, Gibbs and I discussed how the history of institutional racism has made it historically impossible for Black people to attain generational wealth—strangers in a strange land and survivors of the transatlantic slave trade.

We have been resilient, creating, working, living, loving, hoping for generations. Seeing muddy waters through dry land and making a way out of no way.

I Can See Through Muddy Waters Dry Land is as much about the past, with its engagement with nostalgia, as it is about the present and the future. This show provides insight into the legacy and world-building Jerrell Gibbs has tapped into with his practice. Gibbs uses references to his family and spaces that he visually constructs to evoke emotions for the viewer. Gibbs is remarkably intentional in his visual storytelling. There are no unintentional moments on view in this show. The exhibition is comprised of two bodies of work inspired by Andrew Wyeth and David Hockney.”

1k

51

One, two, three, Go!
Oil on canvas
40 x 30 in
101.6 x 76.2 cm
8/23

I Can See Through Muddy Waters Dry Land opens October 6th @easydoesitcuratorialspace See you there!
#jerrellgibbs

665

30

Pull up! Booth D33

“Flower Arrangements”
Acrylic, oil stick on canvas
48 x 48 inches
121.9 x 121.9 cm

“Idle Time”
Acrylic, on canvas
60 1/4 x 48 inches
153 x 121.9 cm

2022

1k

56