Blending hyperrealism and abstraction, Calida Rawles paints Black bodies floating in hypnotic waterscapes, surrounded by ripples, bubbles, refracted light, and expanses of dark and shadow. To Rawles, water holds a duality, representing both racial exclusion but also a space to heal.
Calida Rawles was born in 1976 in Wilmington, Delaware and has always displayed artistic talent—she remembers being in kindergarten and a dinosaur she drew being singled out for praise from the teachers. She gained her BFA from Spelman College in Atlanta in 1998 and her MFA from New York University in 2000. When she was pregnant with her third daughter, Rawles learned to swim, and discovered both the tranquillity of being in water but also the way bodies moving through water became abstracted. “It was high noon, and I was doing the backstroke,” she recalls. “My eyes were adjusting in the sun, and I saw all these discs. It looked like a maze.”
Water is a central element of Calida Rawles’ artworks. Water acts as solace and healer, but Rawles also considers its role in—and intergenerational impact on—Black American history: slave ships brought people to the USA across water; later, segregation laws prevented Black citizens from accessing public bodies of water. But Rawles’ hyperreal acrylic paintings take their subjects way beyond tropes of “Blackness”: they create a space for strength and serenity alongside discussions of serious sociopolitical topics.
No, Calida Rawles is now based in Los Angeles.
Calida Rawles is known for using small paintbrushes and thin strokes. Speaking in 2022, she explained that she liked canvases with texture because she grinds in paint as she works. “I use acrylic,” [she said], “but I probably paint it very much like watercolour.” She photographs her subjects (often many times) before creating her large-scale paintings.
Yes, Calida Rawles painted the cover of The Water Dancer, the first novel from Ta-Nehisi Coates—Rawles and Coates had been friends since college. The image of a cosmic floating figure, with blurred face but realistic arms and hands, foretells Rawles’ later artistic oeuvre.
Calida Rawles notably listens to audio books while she paints—she has cited Octavia Butler’s Parable of the Sower (1993) and Parable of the Talents (1998) as works she revisits, and also Roxane Gay’s Bad Feminist (2014) and Chimamanda Ngozi Adichie’s Americanah (2013). Before her 2025 exhibition This Time Before Tomorrow, she revisited books from Joseph Campbell, Paulo Coehlo and Albert Camus.
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