Heritage in Murals

Devanshi Dhawan

Capilano University

Art History 104

Chris Pearson

April 8th, 2024

Aaron Douglas, From Slavery Through Reconstruction, from Aspects of Negro Life, Oil on

canvas, 1934, 135th Street branch of the New York Public Library

Carrielynn Victor and Debra Sparrow, Untitled, mural, 2018, Capilano University (Cedar

exterior, opposite Daycare)

The mural by Carrielynn Victor and Debra Sparrow and Aaron Douglas’s ‘From Slavery

Through Reconstruction’ propose an intriguing comparison as both works strike the viewer as

something more than just artwork, manifesting as cultural touchstones for their respective

cultures fortifying the identities and histories of their distinct groups. Both these works share a

compelling visual narrative of the endurances and struggles of their people, driving the focus to

cultural evolution and resilience of their respective groups by using abstract forms, silhouettes

and strong geometric elements, to enhance their storytelling. Both murals employ art as means to

inspire and educate the observer, paralleling each other in their representation and celebration of

cultural identities, inspiring conversations on cultural expression, thus making them a touching

pair for a comparative analysis.

At first glance, the attention of the observer is drawn in using a distinct and compelling use of

colour and shapes. Both the murals set the stage for intentional storytelling for cultural messages

through visual characteristics. Douglas employs a more subdued palette while Victor and

Sparrow’s work comes across as bolder and brighter, still both use public artwork as medium to

strike conversation and affirm historical significance.

The mural by artist Carrielynn Victor and weaver Debra Sparrow shows significant influences of

Sparrow’s cultural background, drawing inspiration from the patterns of the handwoven Coast

Salish blankets and bringing a traditional Coast Salish house post as the centrepiece for the

mural. While Aaron Douglas’s ‘From Slavery to Reconstruction’ coming from a series of murals

titled, ‘Aspects of Negro Life’ embodies the spirit of the Harlem Renaissance, showcasing the

artists’ self-developed art style called, “geometric symbolism”, an approach that aims to integrate

the narrative clarity of Mexican muralists with flattened spaces of contemporary modern art. It

further seems to draw inspiration from the artist’s African American background.
Both the works by Victor & Sparrow and Douglas employ distinct formal strategies to serve

essential narrative purposes. Both murals use lines to guide the viewer’s eye through the

composition Douglas uses fluid and arching lines to create a sense of rhythm and movement

throughout the mural, while Victor and Sparrow use sharp angular lines to create a bold

geometric pattern reminiscent of the Coast Salish weavings. The texture of Douglas’s work

seems more implied as he gives a sense of depth and dimension to the figures and background

while Victor and Sparrow’s work seems dimensional through the distinct use of colour and

linework. Douglas’s colour palette is limited yet impactful as he utilizes a muted an earthy

palette creating a sense of historical significance while strategically using contrasting colors to

highlight key elements. This limited use of colour in the picture forces the attention towards the

content and symbolism of the mural rather than its aesthetic appeal. Meanwhile, Victor and

sparrow use colour to further enhance the narrative and symbolism of the mural by employing

the seasonal colour palette of the forest with varying hues of brown and green being the most

significant. The colour palette creates a sense of earthiness and grounding, reminiscent of

cultural roots of the people. The turning page at the bottom left corner is depicted in varying hues

of black and white leaving room for growth and possibilities as well as creating a sense of

uncertainty regarding the future. Aaron Douglas's mural merges African influences with African

American history through understated, story-rich patterns, whereas Carrielynn Victor and Debra

Sparrow's work showcases distinct, modern patterns that honor native traditions. Each artist uses

these designs to link the viewer to a deep cultural story, with Douglas creating a historical

tapestry and Victor and Sparrow presenting a strong cultural statement. Aaron Douglas's mural

creates depth to depict the historical journey from slavery to reconstruction, using space to

engage viewers in a narrative. In contrast, Carrielynn Victor and Debra Sparrow's work uses a
flatter space, emphasizing patterns and colors to showcase cultural endurance, presenting history

as a backdrop to ongoing tradition. Both murals offer unique windows into the African American

experience, one through a timeline of transformation, the other through a tapestry of enduring

cultural identity. Aaron Douglas's "From Slavery to Reconstruction" and Carrielynn Victor and

Debra Sparrow's mural both illustrate the intersection of time and cultural identity, albeit in

different hues. Douglas's work is a historical contemplation in muted tones that narrates progress

and endurance, while Victor and Sparrow's is a contemporary celebration of tradition with

vibrant geometry. Each captures the essence of cultural evolution—Douglas through the lens of

historical transformation and Victor and Sparrow through the perpetuation of indigenous

heritage.

Aaron Douglas and the team of Carrielynn Victor and Debra Sparrow both employ striking

formal elements in their murals, yet they diverge in thematic expression and visual impact. Both

sets of artists use lines and patterns to create rhythm and guide the viewer’s gaze, with Douglas

favoring flowing, organic lines to weave a historical narrative, while Victor and Sparrow opt for

sharp, angular geometries that strike the viewer and evoke cultural motifs. Douglas’s more

subdued palette contrasts with Victor and Sparrow's vivid and contemporary colors, underscoring

the former's focus on the solemnity of history versus the latter's celebration of cultural vibrancy.

While Douglas employs gradation and layering to suggest depth and texture, reflecting the

complex journey from slavery to reconstruction, Victor and Sparrow present a flattened, graphic

style, emphasizing the timelessness of cultural patterns. The representation of space in Douglas’s

work suggests a layered historical depth, while Victor and Sparrow use the flatness of the mural

surface to highlight the enduring nature of cultural heritage. In essence, Douglas's mural is a
historical continuum, capturing a transformative narrative over time, whereas Victor and

Sparrow’s work is a bold assertion of cultural identity and tradition in a contemporary context.

In their murals, both Aaron Douglas and the duo of Carrielynn Victor and Debra Sparrow use

artistic techniques that help tell the stories of their people and celebrate their cultures. Douglas

uses simpler colors and shapes that carry a lot of history and emotion, which make viewers think

of the past struggles and achievements of African Americans. His work feels like it's telling a

story, with each figure and line showing part of the journey from hardship to hope. On the other

hand, Victor and Sparrow's mural is bright and full of life, using patterns and colors that you

might see in traditional indigenous art. They manage to make the mural feel both old and new,

showing respect for traditions while also saying that these cultures are still vibrant today.

Although their styles are different, both murals share a common goal: to honor where they've

come from and to keep their cultures and histories alive in the hearts of those who see their art.

This is their way of making sure that the rich stories and traditions of their communities are

never forgotten.