Solitude, Swag, and Sisterhood: Symonne Larison Exhibits Vivid Portraits and Cultural Rituals at Colman Commons
Artist Symonne Larison brought high saturation, deep contrast, and blunt honesty to the Seattle waterfront with her latest exhibition at Colman Commons.
Originally from Portland and a Seattle resident for the last six years, Larison creates art rooted in ensuring Black people can step into galleries and museums and finally see themselves reflected on the walls.
"I paint portraits predominantly of Black people because it's what I relate to," Larison said. "It's also the representation that I would like to have out in the world."
Her work balances a dual purpose: forging immediate connections with younger generations while intentionally pushing outside audiences out of their comfort zones.
"I want young people to come in and see themselves in paintings and connect and also question themselves... and also sometimes even make white people uncomfortable too,” she said.
The Ritual of Connection and Solitude
The current exhibition highlights Larison's ability to capture cultural intimacy and individual confidence through a vivid use of color.
One of the central pieces, a rich purple canvas titled "Come Sit Youngblood," focuses on a moment of bonding found within Black culture. The painting depicts a young Black man getting his hair done, which the artist described as a sacred space for community and conversation.
"Usually, it's your pops or it's your uncle, and [you’re] connecting with each other. You're getting advice, maybe unsolicited advice, but you're getting advice and being able to talk about life,” she said of the ritual.
Larison noted that this piece shares a thematic bridge with her favorite work in the gallery, a brilliant blue piece titled "Girl I Got You." Stemming from her own childhood memories of sitting between her mother's knees for four hours to get her hair braided, the painting ultimately taps into her teenage years.
Growing up in an area with a small Black population, she and a tight-knit group of about six Black friends had to rely on each other.
"We were all sharing with each other... 'Okay, how are we taking care of our hair?'" she said. "So that's what that truly is. ‘Girl, I got you. We're going to look right. We're going to look good going to school.'"
In contrast to the communal focus of her hair-styling narratives, the exhibition also features "See All Evil," a portrait that explores Black masculinity in quiet solitude. The piece showcases a man enveloped in a dark abyss, exuding a sharp, unshakeable confidence.
"I wanted to capture this Black man that just had this swag," she said. "I love depicting Black men in solitude and being confident because there's a lot of art out there that doesn't depict that."
When asked about the inspirations behind the men in her work, Larison noted that it represents a collective of figures in her life, ranging from her biological father to community leaders like Deaunte Damper and close friends like spoken word artist Darryl Foto.
Challenging a Restrictive Art Scene
While Larison praised Seattle's Black artistic community for its unwavering mutual support, she was vocal about the institutional hurdles Black artists face in the broader city scene. Specifically, she called out gallery owners who attempt to relegate Black art to specific blocks of the calendar.
Recalling being asked to participate in galleries solely during Black History Month, Larison said she has turned down multiple shows to avoid being a diversity checkbox.
"As a Black person, especially a Black artist, [February] is when we're most busy, conveniently for a lot of these companies and galleries,” she said. “We deserve to be held in spaces more than just one month, one glorified month. Because that's just a token."
She urged non-Black gallerists and community members to integrate Black artists into mainstream programming alongside their white and Asian peers, rather than waiting for a niche, identity-focused event.
"Let me be in a show anytime,” she said. “Because we're being very limited, and we're having to create our own spaces constantly."
A New Frontier at Colman Commons
It is exactly that need for authentic, independent space that makes Colman Commons such an exciting venue for Larison. Larison viewed the waterfront gallery as a permanent cultural anchor.
"Not only do I see what's already happening, but I see what can happen. I see the potential," she said of Colman Commons. "This right here is something else. This is going to be a home. This is going to be a third place.”
Larison issued a blunt call to action for Seattle art patrons, pushing them to move past performative allyship and invest directly in local creators.
"Spend your money on the artist right here, right now," she said. "Buy a painting. Go to the open mic. Cheer them on. Listen to the poetry... Branch out. Go see a different medium and support it. Buy it. Buy the ticket. Listen to them. Clap... Stop being fake."
Symonne Larison's portraits can currently be viewed at Colman Commons. Updates on her upcoming exhibitions and future projects can be found on her Instagram.
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