Claire Oliver Gallery is pleased to present Robitussin, hotcombs and grease, a solo exhibition by multidisciplinary artist Stan Squirewell. With a nod to the ubiquity of the quotidien items: Robitussin, hotcombs and grease as hallmarks of domesticity and comfort in Black homes, Squirewell’s latest works focus on the reclamation of identity from historical anonymity, forging an intimacy and proximity with the past that lives alongside us in the present through everyday traditions. Across the more than 15 works in the exhibition, Squirewell sources images from the Smithsonian Institution’s anonymous photo archives, antique photos of friends and family ancestors, transforming them into layered collages, weaving vibrant patterns and contemporary luxury brand logos along with imagery that confers identity and status to these anonymous historical figures. Stan Squirewell: Robitussin, hotcombs and grease will be on view March 28 - May 24, 2025.

“My new work is a reflection of my upbringing and the profound influence of ancestry,” states Squirewell. “Growing up, I was shaped by elders around me, and everyday objects like Robitussin, hotcombs, and grease became vessels for the rituals that anchored me to my heritage. These items transcend their mundane uses: they embody traditions passed down through generations, grounding me in a collective identity.”

Centered on reminiscence and the solace of cherished family memories, the exhibition’s title references household remedies and self-care traditions that shaped Squirewell’s upbringing—Robitussin, the ubiquitous cure-all, and hotcombs and grease, not only essential to Black hair care but also deeply embedded in the textures, rituals, and intimate interiority of Black family life. These works meditate on family, shared experiences within Black American culture, and everyday routines that, over time, have taken on a ceremonious significance. With tenderness and a sense of melancholic longing, Squirewell reflects on the intimate moments that define a household, transforming them into layered visual narratives that intertwine personal history with cultural identity.

Stan Squirewell began his career as both a sculptor and photographer, and this multifaceted approach remains central to his artistic practice. Unlike other collage artists who use found materials, Squirewell personally owns and arranges all the fabric used in his works. He photographs these compositions, then manipulates the images in Photoshop, ultimately printing the final pieces on archival photo paper. This deliberate process serves to honor ancestors who were not respected in their lifetimes, ensuring the permanence of these historical narratives.

Integral to his work is the framing process, where each frame is hand-carved and inscribed with texts, ranging from Langston Hughes' poems to ancestral glyphs from a long-forgotten African language. This infuses the artwork with deep cultural significance. Squirewell also employs the shou sugi ban technique of fire-blackening wood—originating from Japan—to preserve and memorialize his frames, transforming them into reliquaries and deepening the connection between past and present. Squirewell likens his mixed-media process to a DJ remix, layering textures, fabrics, and adornments onto his subjects to reclaim and reimagine Black identity. His compositions offer a counter-narrative to the historical erasure of personal and communal legacies, presenting figures adorned with collaged fabrics and status-branding elements that imbue them with new significance.

In Robitussin, hotcombs and grease, Squirewell reflects on family and legacy not only through his mixed-media portraits but also through the intricate framing process. Each frame begins with a transcribed statement composed of binary code, Indigenous American symbols, and African glyphs, meticulously inscribed into wood before being charred. The fusion of text, material, and technique adds a deeply symbolic layer, turning each work into a physical manifestation of the cultural dialogues Squirewell seeks to ignite. Drawing from personal memory, he centers relatives, everyday objects, and motifs associated with Black American life—imbuing them with the weight of history, resilience, and remembrance.