In Halfrican, Hall refines his unique visual language, which he developed over years of working with coffee-based pigments and his signature use of stained cotton supports. This material experimentation speaks volumes about his themes—specifically, the complex interplay between individual and generational narratives and the effects of history on identity. Hall’s practice, where the raw materials themselves carry cultural and political significance, reflects his profound critique of the systemic forces shaping the lives and territories of people of color. By choosing materials deeply tied to histories of colonial trade and consumption, Hall unearths how culture, commerce, and oppression have imprinted themselves upon the very physical substances of life.

The works in Halfrican range dramatically in scale, from monumental twenty-four-foot paintings to small, intimate portraits evoking yearbook photos. This scale variance allows Hall to explore collective and personal stories, from depictions of camaraderie among young men to narrative cycles that echo human rites of passage. In larger group portraits, his subjects—often clad in workwear like overalls—suggest a reimagining of the American mythos, casting themes of resilience and unity in a fresh light. In exploring freedom and solidarity, Hall probes the tension between individual agency and collective identity, highlighting the delicate balance between self-reliance and mutual support that defines both community life and the socio-political landscape of the United States.

One of the exhibition’s standout works, The Future and the Past (God is Us), presents a panoramic gathering of Black and Brown figures in front of a brick school, united by rhythmic geometric patterns in their attire and surroundings. Hall’s brushwork in the piece offers a compelling visual metaphor for the interwoven nature of personal and communal histories, evoking a sense of resilience and triumph. This interplay between abstract and representational forms speaks to Hall’s interest in how identities are built across time, with the skin itself—pigmentation being the literal basis of his medium—becoming a symbol of shared experience. Through the repeated use of pigments that echo skin tones, Hall ties together the aesthetics of his work and the global human narrative, uniting both in a gesture of material and thematic solidarity.

In the show’s quieter moments, such as Mother and Child (Lauren and Henrietta), Hall channels his expressive powers into intimate scenes. This tender portrait of his wife during her pregnancy offers a visual ode to new life and the symbolic layers that accompany it. Through rich botanical details and symbols, Hall weaves a deeply personal story of transformation and continuity, reflecting the dual nature of creation and struggles inherent in new beginnings. As with his coffee-stained cotton canvases, Hall’s work resonates with a kind of spiritual alchemy—where the physical acts of painting become a means to capture life’s thresholds, between past and future, unity and individuality. In Halfrican, he brings us face-to-face with the in-between spaces that define identity, making each painting a profound meditation on the dynamic forces that shape us.