Solange is Creating Worlds for Future Generations
In her latest project, a performance art film for Louis XIII cognac, the Grammy-winning singer, songwriter, and visual artist explores the concept of deep time.
Houston-born singer, songwriter, and visual artist Solange thinks deeply about the long-term impact of her work. Her latest project, an art film titled Believe in Time created in collaboration with Louis XIII cognac, is an ode to Mother Earth in which the singer explores the idea of using time as a raw material.
“Time and space are really at the foundation of my expressions,” says Solange. “I'm a strong believer that the space and time surrounding our work is just as important as the work itself, and world making has been a part of my practice for quite some time now. These ideas align with what is being expressed with Louis XIII’s creation, Believe in Time."
First created in 1874 by the House of Rémy Martin, Louis XIII cognac is aged in tierçons for decades and uses only the most precious eaux-de-vie sourced from Grande Champagne. Mouth-blown decanters house an exquisite blend sourced from the first cru of the Cognac region, and Cellar Masters work with the next generation in mind.
The film, which was created in collaboration with legendary couturier Guo Pei and French-Senegalese Cannes Grand Prix-winning director Mati Diop, features an original score created by Solange, stunning visuals, and sublime costuming.
Exclusively for L'OFFICIEL, Solange speaks about the film, her inspirations, and the future.
L’OFFICIEL: What was the inspiration behind your short film with Louis XIII, Believe in Time?
Solange: In thinking about time, Mati and I spoke a lot about the process and how we could introduce elements of the artistic practice of creation into the film. In the film, there is the creation of a song that echoes the process of making the score for the film. We also imagined what our version of Mother Earth would look and feel like, and how that could be defined in a way that felt like it was coming through the lens of the way we see the world.
L’O: What about Louis XIII cognac made you want to collaborate with the House?
S: I really aligned with Louis XIII’s conversations about time and using time to perfect craft. When I am working on projects, I am thinking about future generations, and how it will feel for them to discover my work decades from now. I try to make timeless decisions in costumes, or in lyrics, so that these pieces of work will stand the test of time.
L’O: What was it like working with Guo Pei and Mati Diop for the film?
S: The spirit of collaboration definitely holds up a mirror to you as an artist, and there is a lot of vulnerability that comes with that. But, I think we all wanted to make something we would all be incredibly proud of and I appreciate the thoughtfulness that came with working with them both. Both Guo Pei and Mati are masters at their craft. To see the dress up close and every single detail that goes into the creation was so phenomenal. To watch Mati and to see the way she ran a set and her technical skills as a director was incredibly inspiring. I'm really so proud of all of us and what we created together.
L’O: How do you hope future generations will receive your work?
S: I hope that they are able to see themselves in any world that they imagine they belong in. Whether that's through futurism, architecture, or sonics, I hope even in the smallest of ways that I've left a mark on a sense of their own belonging to creation, music, and art.
L’O: How have the last two years changed you as a person and as a musician?
S: The last couple of years have allowed me to slow down and really prioritize the balance and the importance of rest and healing in my work. It's also made me feel like in this really fast-paced world where there is so much expectation to deliver constant work, I want to be as expansive on the lifeline of a project. I really enjoy content, but I myself am not a content creator. I try to pour so much intentionality into every crevice of the work and am in a place where I really want to take my time and balance that with life.
L’O: What inspired you to start Saint Heron and what do you hope to achieve with the institution?
S: Saint Heron was birthed out of need. I needed to see a space that reflected what my community represented culturally, spiritually, artistically and there was no one space that really defined that. So, seven years ago I created it myself. As it transitions into an institution, our main ethos is to preserve, collect and celebrate the works and stories of our own, while we create new frontiers of art, design, and expression.
L’O: How did working on your previous film project When I Get Home help prepare you for working on Believe in Time?
S: There are a lot of similar elements in the two films in terms of how the piece uses music, dance, architecture, and the presence of a spirit to tell the story. Early on, Mati and I discussed how we could use these mediums to come together to tell this story of Mother Earth and time. Authenticity was key to Mati, so we used a lot of the same creative team, from my stylist, to dance coordinator, to even my musicians from When I Get Home in Believe In Time which made everything feel familiar and at home. Also, being able to create the score before the film creates a sonic palette that can really lead the tone of the film, which is a beautiful way to work.
L’O: On the themes of space and time, what do you do to recenter yourself and find a way to slow down? How do you get yourself in the right headspace?
S: Traveling by car has probably been the most centering thing for me in the past few years. Watching landscapes change and seeing the sun set and rise, or driving towards what feels like the moon—all of these things are constant reminders of just how small we are in the grand scheme of life. Creation has had the most gravitational pull on me since I was a child, and there is nothing like nature to experience the ultimate creation, which always silences my mind in the most impactful way.
"When I am working on projects, I am thinking about future generations, and how it will feel for them to discover my work decades from now."
L’O: What is inspiring you right now? What are you finding comfort and peace in?
S: This past year, I visited Georgia's Sapelo Island which is home to Hog Hammock, the last known Gullah community. Being on such sacred land and knowing of the preservation of our ancestors' culture and rituals moved me in such a profound way. To know there are corners of this country that still preserve the language, the food, and the spirits of our people. I also have been so moved by glass lately. I took glassblowing classes for a while, and as a material, it has taught me a lot about the song and dance of being on a material’s time. You are not in control and must constantly be moving in order to work with the material. There was a lot I could apply to life from those days in the hot shop.
L’O: What are some future projects you’re excited about?
S: I’ve devoted most of my time these past couple of years to Saint Heron. We have so many exciting projects coming out this year. We’ve just released the second edition of our Saint Heron Library, which houses our collection of rare and out-of-print books. We’ve opened this up to the public, allowing anyone to borrow these unique writings and the response to that was so beautiful. We also just completed our Saint Heron Ceramic Residency, where we had four incredibly talented Black women ceramicists and sculptors in a workshop under the mentorship of two ceramic masters. I look forward to continuing to put on projects that support and preserve the practices of Black women for as long as I can.
