Inspired by one of the oldest African tradition and art forms “Body Painting”. This dynamic ritual is one of several (scarification, deformation of the skull, perforations of the ear, nose, and mouth) that has been perpetuated from generation to generation in pursuit of beautifying the body and building a link between the natural and spirit worlds. Referencing this act of adorning the body with painted- on small dots, I spontaneously position 3/8 of an inch white circular felt pads on to isolated areas of my bare skin as if it was a blank canvas as oppose to mimicking the painted process. The introduction of felt pads, which are traditionally placed underneath the bottoms of chairs and stools to protect hardwood floors from marks and scratches, allows me to conceptually transfer this idea in application to my bare skin speaks to illustrating intimacy in the ritual and my predilection for the spiritualization of each component of my body. This performance-like ritual is carried out in the privacy of my studio or a designated public space devoid of human activity. I shoot with a 35mm manual camera, utilizing solely natural light of the space I inhabit at that moment. Once I have deposited the felt pads on to my unclad body, I execute a series of extemporaneous movements; reclining, sitting, walking, jumping, resting and pressing my head and face on a chair, etc. Throughout this process I am photographing and shooting my body from various angles as I document this ritual.

Executing an improvised movement that entailed lying on top of a storage trunk that was covered with a piece of random black fabric. My felt pad covered head was facing upward toward the sacred and my eyes were closed as I willfully meditated- 3/8 of an inch of white circular felt pads on Artist skin (Head)- Site-Specific- 20 x 24 in- 2023- Gelatin Silver Print- Photography/Performance- Keith O. Anderson ©

3/8 of an inch white circular felt pads on Artist skin (Head)- Site- Specific- 20 x 24 in- Gelatin Silver Print- Photography/Performance- Keith O. Anderson ©

Executing an improvised movement that entailed placing my head directly on to a foot stools as I interject my body in to the natural light that engulfs the domestic space creating lights and darks that are magical.

3/8 of an inch white circular felt pads on Artist skin (Head and Hands)-Site- Specific- 20 x 24 in- Gelatin Silver Print- Photography-Performance- Keith O. Anderson ©

Executing an improvised movement entails placing lying on the floor with my face buried in my felt pad covered hands while negotiating an unforgiven tight space in between two objects as tension arose.

MY PUBLIC SPACE & SUBWAY STATION INTERVENTIONS: On March 13, 2020, I was furloughed from a job I held since 2018, due to the COVID pandemic sweeping the country. I immediately began to reflect on how am I going to navigate this personal, financial, artist quagmire and justifiable social unrest that has engulfed every aspect of my existence. Well, I chose to utilize art as a vehicle to articulate my angst, pain, disgust and anger. With my mask on, I descended various subway stations and began attacking walls with fat crayons, grease pencils, and strips of torn black archival masking tape. The discovery of objects along the streets of New York became a celebration of Breonna Taylor and a rebuke to those responsible for her death. Poster-filled makeshift walls that populated the streets of New York were ideal for my 3/8 of an inch white circular felt pad interventions. However, I chose not to videotaped any of my interventions, nor engage someone else. Roaming the New York streets, and subway stations between 10 pm - 5 am required that I create expeditiously, and independently. I definitely did not want to bring anyone else along for a journey that entailed me dodging the police often, and being solicited by individuals for drugs.

Documentation of 3/8 of an inch white circular felt pads on an image on a poster-filled makeshift wall along the street of New York City- Site-Specific- PUBLIC SPACE INTRERVENTION- 2023 Keith O. Anderson ©

(Detail), Documentation of 3/8 of an inch white circular felt pads placed on an image on a poster-filled makeshift wall along the street of New York City- Site- Specific- PUBLIC SPACE INTERVENTION- 2023 Keith O. Anderson ©

Documentation of 3/8 of an inch white circular felt pads placed on the neck of the model in the photograph on a poster filled makeshift wall along the streets of New York- Site-Specific- PUBLIC SPACE INTERVENTION- 2023- Keith O. Anderson ©

Documentation of 3/8 of an inch white felt pads placed on the eyes of the model in the photograph on a poster filled makeshift wall along the streets of New York- Site- Specific- PUBLIC SPACE INTERVENTION- 2023 Keith O. Anderson ©

Documentation of Fat Crayon, utilize to execute text on a mattress discovered along the sidewalk on the Lower East side- Site-Specific- PUBLIC SPACE INTRERVENTION- 2020 Keith O. Anderson ©

Documentation of Fat Crayon utilized to execute text on a mattress discovered along the sidewalk on the Lower Eastside one early morning- Site-Specific- PUBLIC SPACE INTERVENTION- 2020 Keith O. Anderson ©

Documentation of Fat crayon, and text executed on the Subway station wall as it was- Dimensions Variable- Site -Specific- SUBWAY STATION INTERVENTION- 2020 Keith O. Anderson ©

Black archival masking tape executed on subway station wall as it was- Dimensions variable- Site-Specific- SUBWAY STATION INTERVENTION- 2021 Keith O. Anderson ©

Documentation of Black archival masking tape on Subway station wall as it was -Dimensions Variable- Site-Specific- SUBWAY STATION INTRERVENTION- 2023 Keith O. Anderson ©

Installation View, Unmasking Masculinity in the 21st Century aims to survey the construction of masculinity among diverse communities and individuals, as well as how artists have responded to, reframed, or reclaimed the concept of masculinity throughout the 20th and 21st centuries. The exhibition explores the construction of masculinity, beyond biological traits to iexamine the ways in which it intersects with various social factors, such as gender, race, sexuality, and socioeconomic status. Curated by Rehema Barber and Larry Ossei- Mensah, featuring artists, Keith O. Anderson, Nick Cave, Ed Clark, Catherine Opie, Jeff Gibson, Lyle Ashton Harris, Brendan Fernandes, Arthur Jafa, Patrick Quarum, Melvin Edwards, and Jason Moran, Nate Lewis, Kehinde Wiley, James Luna, Deanna Lawson, Mark Bradford, Derek Fordjour, Mike Kelly, Felandus Thames, Ebony G. Patterson, Joe Overstreet, Cheryl Pope, Collier Schorr, Avery R. Young, Pixy Liao, Yashua Klos, Alex Katz, Felix González- Torres, Charles Pope, Kahlil Joseph, 2022

Kalamazoo Institute of Arts Group Exhibition, Unmasking Masculinity in the 21st Century Curated by Rehema Barber and Larry Ossei -Mensah 2022, (Detail) Throne- Burnt matches, archival glue, and chair- 36 x 16 x 16 in 2010- 2011 Keith O. Anderson ©

Burnt matches, ashes, dirt, debris and wood- 9 x 60 x 2 1/2 in- 2017- Keith O. Anderson ©

I placed the installation piece onto a wall that possessed sawdust, stains, footprints, and an assortment of markings. I found this discovery to be ideal and is in line with my commitment to finding other surfaces, materials, elements and substances that will start a new conversation.

Burnt matches, spray paint, archival glue on a canvas retrieved from the garbage- 27 x 27 in- Keith O. Anderson ©

Burnt matches, spray paint, archival glue and a canvas retrieved from the garbage- 27 x 27 in- Keith O. Anderson (c)

Burnt matches, archival glue and raw cotton duck canvas- 48 x 48 in- 2018 Keith O. Anderson ©

Documentation of 3/8 of an inch white circular felt pads on a chair- 2019 Keith O. Anderson ©

3/8 of an inch white circular felt pads on broken scissor- 2019 Keith O. Anderson ©

Within certain African tribes the belief is that Animism a spiritual force itself resides in all things. Documentation of 3/8 of an inch white circular felt pads utilized to follow the contour of the wood grain pattern on a door- 2019 Keith O. Anderson ©

Documentation of 3/8 of inch white circular felt pads on a window- 2019- Keith O. Anderson ©

Match heads all cut by hand by the Artist, fire residue, and paint residue on rags retrieved from the garbage - 2018 Keith O. Anderson ©

(Detail), Match heads all cut by hand by the Artist, fire residue, archival glue, and paint residue on rags retrieved from the garbage- 2018- Keith O. Anderson ©

Match heads all cut by hand by the Artist, wood, archival glue and spray paint- 2 x 42 1/2 x 3 1/2 in - 2018 Keith O. Anderson ©

Uncooked black eyed peas, archival glue and wood- 48 x 49 1/2 x 2/1/2 in- 2017 Keith O. Anderson ©

(Detail), Uncooked black eyed peas, archival glue, and wood- 48 x 49 1/2 x 2 1/2 in- 2017 Keith O. Anderson ©

Latex flat paint, uncooked Black eyed peas, and wood- 4 x 5 x 3 in- Site-Specific- 2009-Keith O. Anderson ©

Installation View, Group Exhibition featuring Artists, Keith O. Anderson, Res, aInd Qian Zhao: Curated by Andrianna Campbell

(Detail) , I no longer write poems for her- 3/8 of an inch white circular felt pads on artist genitals and lower body- Site-Specific- 11 x 14 in- 2013 Keith O. Anderson (c)

Wood support (pedestal)- Burnt marks on wood-17 3/8 x 23 1/2 in- 2016- Keith O. Anderson ©

Sculpture- Plaster prepared by Artist and light bulb- 13 x 15 in- 2016- Keith O. Anderson ©

Installation View, These are not my colors- Burnt marks and a discarded painted dropcloth retrieved from the garbage- 53 x 69 1/2 in- 2018 - Keith O. Anderson ©

As Africa Turns- Burnt marks, and broken vinyl record, and dust- 12 x 10 in- 2008- Installation- Keith O. Anderson (c)

Group Exhibition Curated by Rehema Barber featuring artists Keith O. Anderson, Dwayne Butcher, Shelia Pree Bright, Tam Tran, Joel Parsons, Jonathan and Mary Postal, Jack Ryan, Marie Irmgard, and Charles Huntley Nelson.

Burnt marks on broken glass, and wood frame carved with a blade and struck incessantly with a hammer- 31 x 38 in- 2018 Keith O. Anderson ©

Documentation of me installing, For Nico, because,- I am positioning hand torn strips of Black archival masking tape on to the surfaces of the window and window frame. I was captivated by the idea of hand torn strips of Black archival masking tape projecting from the surfaces of the window and the window frame. The interplay of artificial light and natural light caressing the adhesive side of the masking tape created an iridescent effect of which was not planned. Keith O. Anderson ©

Installation View, For Nico, because…..- Hand torn strips of Black archival masking tape positioned on the surfaces of the window and window frame- 79 x 117- Site-Specific- 2015 Keith O. Anderson (c) Group Exhibition featuring artists: Keith O. Anderson, Marcy Chevalier, and James Cullinae: Curated by Michael Sarf

(Detail ), For Nico, because……..- Hand torn strips of Black archival masking tape positioned on the surfaces of the window and window frame- 79 x 117 in- Site-Specific- 2015- Keith O. Anderson ©

Hand torn strips of Black archival masking tape, fire residue and a sheet of Black wrap aluminum foil.- Sculpture 11 x 14 x 15 in- Sheet of Black wrap aluminum foil- 38 x 39 1/2 in- 2016- Keith O. Anderson ©

Installation View: To Tanser Anderson, Eva Hesse, Jackie Winsor, and Leontyne Price with Love- Wiggleboard, archival glue and dry almond sculpture around Artist neck-2008-09- Site- Specific- Photography/Action- Silver Gelatin Print- 11 x 14 in-2010 Keith O. Anderson

During the year 2010, I participated in a Group Exhibition organized by the Curator Christine Licata. On the last day of the exhibition I brought my 35mm camera, and I asked her to photograph me wearing my sculpture around my neck, while executing a series of extemporaneous movements in the gallery space inhabited by natural light. I set up the camera for Christine and she did the rest, my aim was to experience all of her sensibilities, and apprehensions.

(Detail),To Tanser Anderson, Eva Hesse, Jackie Winsor, andLeontyne Price,Sculpture (around the neck of the Artist)- Wiggleboard, and dry almonds archival glue- 2008-09- Site-Specific- Photogtraphy/Performance- Gelatin Silver Print- 11 x 14 in- 2010 Keith O. Anderson ©

Purification, My Melody (Rakim)- Stencil letters, spray paint, and a music stand- 2013- Keith O. Anderson ©

BEAT, BRONXARTSPACE, Group Exhibition Featuring artists, Keith O. Anderson, Crystal Z. Campbell, Glendalys Medina, Michael Paul Britto, R. Armstrong, Daniel Santiago Salguero, Devin Kenny, Drag Lomax, Jeff Kurosaki and Tara Pelletier

Stencil letters (positioned on a window sill ) and spray paint- Dimensions variable- Site- Specific- 2013 Keith O. Anderson (c)

Documentation of me felling a tree that my former employer did not value anymore. Well, a tree that provided shade on sunny days, absorb carbon dioxide from the atmosphere and released oxygen in exchange left me a bit perplexed. WHY ? - Photography/Action- 2013- Keith O. Anderson ©

Documentation of felled tree and stencil letters- 2013- Site-Specific-Photography/Action- Keith O. Anderson ©

Raw cashews and leather pouch- 5 1/2 x 4 x 2 in- 2012 Keith O. Anderson ©

Artist tee-shirt, plaster, paint and steel nuts and bolts- 2012 - Keith O. Anderson ©

Installation View, THE HAPPENING: Kinesics as Art Object, Group Exhibition, Curated by Nico Wheadon, Rush Arts Gallery, 2009 - Last night a DJ saved my life with a song- Straight pins penetrating the skin of the Artist- Photography/Performance- C-Print- 20 x 24 in- 2007 Keith O. Anderson ©