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Acrylic, ink, coffee, and tea on paper mounted to wood panel
Umar Rashid’s portraits fold history in on itself, merging centuries into a single, continuous narrative. Each triptych depicts three of the artist’s friends, yet the figures seem to exist across multiple timelines.
Some appear in contemporary clothing while others wear historic attire, collapsing any clear sense of time and prompting the viewer to question whether time and progress are truly linear. Are these figures part of our world, or do they belong to Rashid’s alternate history, the Frenglish Empire? They seem to exist in a space where past and present exist side by side in perpetual conversation.
The result is a body of work that asks the viewer to consider not just who these people are, but when they are—to question whether we are seeing them in our own timeline or within Rashid’s ever-unfolding account of empire, resistance, and survival. At the same time, it reminds us that the figures who populate history’s grand narratives are also individuals—friends, fragile and specific as well as heroic and monumental.
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Umar Rashid’s portraits fold history in on itself, merging centuries into a single, continuous narrative. Each triptych depicts three of the artist’s friends, yet the figures seem to exist across multiple timelines.
Some appear in contemporary clothing while others wear historic attire, collapsing any clear sense of time and prompting the viewer to question whether time and progress are truly linear. Are these figures part of our world, or do they belong to Rashid’s alternate history, the Frenglish Empire? They seem to exist in a space where past and present exist side by side in perpetual conversation.
The result is a body of work that asks the viewer to consider not just who these people are, but when they are—to question whether we are seeing them in our own timeline or within Rashid’s ever-unfolding account of empire, resistance, and survival. At the same time, it reminds us that the figures who populate history’s grand narratives are also individuals—friends, fragile and specific as well as heroic and monumental.
Artwork Information
Year
2022
Materials
Acrylic, ink, coffee, and tea on paper mounted to wood panel
Authentication
Signed by Artist
The work comes with a Certification of Authenticity signed by the Co-Founder of Tappan.
Dimensions
ARTWORK DIMENSIONS
7 x 5 1/2 x 1/2 inches each
7 x 16 1/2 x 1/2 inches Set of 3
FRAMED DIMENSIONS
Individual Work: 7 x 5 1/2 x 1/2 inches
Reveal: 8 3/4 x 7 1/4 x 1 1/2 inches
Unframed: 7 x 5 1/2 x 1/2 inches
Set of 3: 7 x 16 1/2 x 1/2 inches
Reveal: 8 3/4 x 21 3/4 x 1 1/2 inches
Unframed: 7 x 16 1/2 x 1/2 inches
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“What's interesting is that history is always written by the victor. There's all these different stories, and as a black person or African-American, as you will or whatever, I haven't figured out how I really fit into this history.”
About the Artist
Umar Rashid
Umar Rashid, also known as Frohawk Two Feathers, is a Los Angeles-based multidisciplinary artist renowned for his vivid reimaginings of colonial histories. Through painting, drawing, sculpture, and storytelling, Rashid constructs alternative historical narratives that intertwine fact and fiction, often spotlighting the experiences of marginalized communities omitted from traditional accounts. His work delves into themes of race, power, empire, and resistance, blending influences from hip-hop culture, ancient mythology, and 18th-century colonial aesthetics.
Rashid's art has been featured in prominent exhibitions, including Made in L.A. 2020: a version at both the Hammer Museum and The Huntington Library in Los Angeles. In 2022, he presented his first solo museum exhibition in New York, Ancien Regime Change 4, 5, and 6, at MoMA PS1, showcasing over 30 new works that explore the dynamics of political and cultural power through history and fantasy. In 2024, in collaboration with BLUM he was a part of the PST ART: Art & Science Collide project with his solo exhibition The Kingdom of the Two Californias. La Época del Totalitarismo Part 2.
Select public collections include:
Brooklyn Museum, Hudson River Museum, Nevada Museum of Art, Santa Barbara Museum of Art, Wadsworth Atheneum Museum of Art, Zeitz Museum of Contemporary Art Africa (Cape Town, South Africa), Ruth and Elmer Wellin Museum of Art at Hamilton College, Mount Holyoke College Art Museum, 21C Museum, The Progressive Collection, The Artist Pension Trust

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This service is currently unavailable,
sorry for the inconvenience.
Pair it with a frame
Frame options are for visualization purposes only.
FRAME STYLE
MATTING SIZE
BUILDING YOUR EXPERIENCE
powered by Blankwall
Take a few steps back and let your camera see more of the scene.
powered by Blankwall
Was this experience helpful?
Umar Rashid’s portraits fold history in on itself, merging centuries into a single, continuous narrative. Each triptych depicts three of the artist’s friends, yet the figures seem to exist across multiple timelines.
Some appear in contemporary clothing while others wear historic attire, collapsing any clear sense of time and prompting the viewer to question whether time and progress are truly linear. Are these figures part of our world, or do they belong to Rashid’s alternate history, the Frenglish Empire? They seem to exist in a space where past and present exist side by side in perpetual conversation.
The result is a body of work that asks the viewer to consider not just who these people are, but when they are—to question whether we are seeing them in our own timeline or within Rashid’s ever-unfolding account of empire, resistance, and survival. At the same time, it reminds us that the figures who populate history’s grand narratives are also individuals—friends, fragile and specific as well as heroic and monumental.






















