What happens to hidden tears?

Placeholder from October 10 to December 9, 2023 at The Stamp Gallery | University of Maryland, College Park | Written by Reshma Jasmin

In the past few years, I’ve been making a concerted effort to cry.

“Men don’t cry” is society’s mantra for masculinity. Emotions are seen as weakness, and men are meant to be strong, so crying, which is an overflow of emotions, is emasculating. Even though I was not socialized as a man, I still learned that tears equal weakness when I was pretty young, and I was quick to internalize it. Starting when I was seven or eight, I would hide whenever I was upset— in various closets, under my bed, under desks, in between and behind furniture. My tears were meant to be hidden too, but I was never allowed to remain hidden, and neither were my tears as my brother and parents would immediately search and pull me away from my too fleeting enclosed sanctuary.

After a traumatic experience at age nine or ten, I was more adamant about hiding. I still cried, but my sobs were suppressed, so I never made a sound. I would hold shut the doors of the various closets when someone found me. In my arguments with my family, or when feeling overwhelmed in some way, tears would well up in my eyes, but I never let them fall in front of people. When I was eleven, I learned that what I’d gone through was traumatic, and until I was seventeen, I didn’t cry at all. My eyes only ever welled up because of seasonal allergies.

When I first walked through Placeholder, I saw some of my struggle reflected back at me in the pieces by artist James Williams II. 

Williams is an American artist based in Baltimore, MD whose work focuses on aspects of racial constructs, systemic racism, and cultural identity. In his artist statement, he explains that his work is meant “to challenge the ambiguity of the Black construct as both an object and personhood.” His pieces in Placeholder explore the hidden nature of identity and emotion in the Black experience. Williams explains that his work as an artist and professor is inspired by his older daughter’s questions about race. He tries to simplify the Black construct because even with all the complexity ingrained in race in America, he believes “it’s not as complex as we make it.” (from the artist’s website). He embodies “a childlike understanding” of experiences and perceptions of Blackness in America by using a blend of multiple mediums.

In the artists panel during the opening reception of Placeholder, he recounts the moment his daughter said, “I don’t see you cry.” Williams responded that he has cried, especially thinking back to his experiences as a young Black boy in upstate New York, but his daughter’s observation appears to have stuck with him.

James Williams II, This Ski Mask is for Hiding Tears, (2023), Velcro, yarn, oil paint on canvas and panel

The socialized stigma of crying and vulnerability is especially prevalent in Black communities. Due to systemic and societal/cultural racism in America, Black people are forced to be resilient just by existing. In an effort to maintain the image of being strong and avoid losing resolve, Black people are socialized to suppress their emotions and hide their tears. The title This Ski Mask is for Hiding Tears suggests that the ski mask is a refuge from being seen in weakness. The identity of the wearer is obscured, since they are not seen as an individual but as a “Black person”— a generalized entity that embodies all the stereotypes of Blackness. A ski mask is also a symbol of the racist perception of Black people as criminals. The ski mask objectifies its wearer by stripping personhood and replacing it with a criminal status. Ultimately, the tears are the only things that are visible above the mask, but they still go unseen because people do not sympathize with perceived criminals.

James Williams II, Calm Before, (2019), Velcro, oil paint on canvas and panel

When reading the title Calm Before, our minds automatically add in “the storm” to finish the phrase. The phrase refers to the quiet period before disaster strikes, and explains the anxiety that comes when things are too quiet or go too smoothly. Pressure builds when confined, so the “calm before” is really the roller coaster going up its first hill— the higher it goes, the more intense the drop.

The title Calm Before suggests a work that would depict that foreboding period of stillness when the storm clouds are forming. But the piece depicts a chaotic storm with teardrop rain falling from an angry cloud in a dark woods. The drops are different colors, sizes, and mediums— oil paint on canvas, paint on panel, or velcro. Unlike the more common titles that summarize the content of a piece, Calm Before is like the title of a poem that also serves as the first line. The title is followed by the piece, which illustrates “the storm.” This also captures that the calm before and the storm after are the same— the chaos and pain just move from internal to external. Or there is no storm at all, and it stays confined in the calm before, tears that build up never fall, and the pressure builds with no release. Either interpretation simplifies the building emotions that Black Americans carry throughout their entire “calm” or “normal” lives due to the nature of racism in America.

I encountered my own storm when I was seventeen. The bottle holding everything I refused to feel or confront for years exploded, and I sobbed unceasingly— still silent, but uncontrollable. Unfortunately, I quickly returned to a state of calmness where my tears would at least well up with emotion, but I could never find release by crying, even when I was alone. 

Williams’s work does not resonate with me in the same way it would for a Black viewer. He captures the complexities of handling and expressing emotions that Black people encounter due to the societal realities of racism and racial constructs in America. The Black experience he illustrates comes from his own lived experience. To me, Williams’s work is heart-wrenching and beautiful. His pieces tell me that tears will stay hidden and the storm will remain trapped in the calm before; that is the natural state of things, as he has experienced. But he shares that pain with the world through his work, so his pain becomes visible. Though it seems somewhat bleak and scary, his vulnerability is his strength. And that makes me want to continue making an effort to cry.

James Williams II’s works are included in Placeholder at The Stamp Gallery of the University of Maryland, College Park, from October 10 to December 9, 2023.

For more information on James Williams II, visit https://www.jameswilliamsii.com/.

For more information on Placeholder and related events, visit https://stamp.umd.edu/centers/stamp_gallery.

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