Stan Squirewell’s Mixed-Media Collages Imbue Anonymous Historical Photos with Panache

Nothing sparks the imagination quite like coming across a trove of old photographs. We look for writing on the reverse and scan the anonymous faces to read a range of expressions. Where exactly they were at that moment, what brought them together that day, and who took the picture? For Stan Squirewell, the allure of historical portraits is a central tenet of his multimedia practice.

In large-scale, mixed-media collages, the artist begins with black-and-white photographs, typically taken a century ago or longer. He especially emphasizes portraits of Black individuals, whether gathered together as a group or posing independently. Some of these compositions start with a formal portrait in a studio, while others have more of a snapshot quality. On their clothing, Squirewell collages fabric patterns, paint, and glitter, inviting the past into the present.

a framed portrait by Stan Squirewell, from an old photograph, of a Black woman with colorful, patterned fabrics collaged onto the image — “Awinita” (2022), mixed-media collage, paint, and hand-carved shou sugi ban frame, 59 x 45 inches

Squirewell’s current solo exhibition, Robitussin, Hotcombs & Grease at Plattsburgh State Art Museum, delves into Black identity and daily experience. The title nods to ubiquitous items as “hallmarks of domesticity and comfort in Black homes,” the museum says, focusing on “the reclamation of identity from historical anonymity.”

Squirewell sources photographs from the Smithsonian Institution’s anonymous photo collections and from family and friends. Through the intimate medium of the portrait, anonymous individuals emerge from the archives and are imbued with vivacious textile patterns, and recognizable luxury brands like Louis Vuitton and Gucci suggest elevated style and status. Scale also plays a role, too, as Squirewell prints the photos quite large, blurring features in the process yet representing the figures closer to life-size so that their presence is palpable.

Robitussin, Hotcombs & Grease continues through December 5. Plan your visit on the museum’s website, and find more of the artist’s work on Instagram.

a framed portrait by Stan Squirewell, from an old photograph, of a Black man with colorful, patterned fabrics collaged onto the image — “Uncle O,” cut photograph collage mounted on canvas, oil, and glitter in hand-carved shou sugi ban frame, 62.5 x 32.5 inches

a framed portrait by Stan Squirewell, from an old photograph, of a seated Black man with colorful, patterned fabrics collaged onto the image — “Colorful Joseph II” (2024), cut and collaged archival photography, glitter, and paint, 15.5 x 12.5 inches

a framed portrait by Stan Squirewell, from an old photograph, of two young Black men with colorful, patterned fabrics collaged onto the image — “Chico & Charles 3” (2025), manipulated photo-collage, 42 x 26 inches

a framed portrait by Stan Squirewell, from an old photograph, of a Black woman and a young girl, with colorful, patterned fabrics collaged onto the image — “Almaz & Lil Symphony”, mixed media collage, paint, and hand-carved shou sugi ban frame, 57 x 40 inches

a framed portrait by Stan Squirewell, from an old photograph, of two young, seated Black men with colorful, patterned fabrics collaged onto the image — “Benny & Al,” mixed media, photo collage, acrylic paint, and glitter in a hand-carved frame, 88 x 58 inches

a framed portrait by Stan Squirewell, from an old photograph, of a Black man wearing a hat, with colorful, patterned fabrics collaged onto the image — “He’s Home” (2024), artist-printed photos collaged with paint and glitter in a hand-carved shou sugi ban frame, 20 x 12 inches

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