Artist Carl Joe Williams Unveils Slavery-Inspired Work at Victoria Mansion

New Orleans artist Carl Joe Williams has unveiled a significant painting at Portland’s Victoria Mansion, which highlights the historical context of slavery associated with the mansion’s original owners, the Morse family. This artwork, titled “Foundation for the Present, Paid in the Past,” will be permanently displayed in the mansion, offering a new perspective on the lives of the individuals enslaved by the family.

The Victoria Mansion, constructed between 1858 and 1860, once served as a summer retreat for the Morse family, who were prominent hotel owners in New Orleans. The mansion has functioned as a museum since 1941, showcasing much of its original décor. However, the history of the family’s involvement in slavery has only recently begun to receive more thorough examination.

Uncovering the Past

During the pandemic, staff at the Victoria Mansion utilized the downtime to conduct in-depth research into the lives of enslaved individuals connected to the family. This research uncovered numerous archival materials, including instances of the Morse family’s participation in slave auctions, which were common in New Orleans during that era.

As part of their initiative, the mansion identified at least 27 individuals—men, women, and children—who were enslaved by the Morse family. While these individuals likely never lived in Maine, mansion staff felt compelled to honor their stories and contributions. Timothy Brosnihan, the Executive Director of the mansion, emphasized the importance of exploring this history beyond decorative art. “It’s a jumping-off point for exploring other themes in American history,” he stated.

In line with this initiative, the Victoria Mansion sought out contemporary artwork addressing its historical ties and received a grant of $3,000 from Coffee By Design’s Rebel Blend Fund to commission Williams’ work. Jordia Benjamin, Executive Director of Indigo Arts Alliance, noted the role of contemporary art in bridging historical narratives with present and future dialogues.

Art as a Reflection of History

Williams’ painting draws from both historical research and his creative imagination, portraying the Arcade Hotel, where many enslaved individuals worked. The artwork is vibrant, featuring colors that contrast sharply with traditional sepia-toned historical documents. “In my work, I tend to honor ancestors,” Williams explained, noting the connection he feels to the history of Louisiana and its people.

The painting will be displayed in the mansion’s foyer, alongside a small black-and-white portrait of David Wilson, an emancipated individual who later became a delegate at Louisiana’s constitutional convention. Wilson’s portrait serves as a reminder of the lives that were deeply impacted by the history of slavery, as he advocated for public education for Black children.

As the Victoria Mansion continues its research efforts, the staff aims to expand the exhibit to include more comprehensive narratives and educational resources. Stacia Hanscom, Director of Education and Public Programs, is pursuing additional grants to update the exhibit and hopes to collaborate with researchers in New Orleans to delve deeper into the historical records available.

Brosnihan concluded, “This initiative is a process, and it’s going to unfold into the future. We’re going to learn more.” The ongoing commitment to exploring and sharing this complex history underscores the significance of acknowledging the past as part of the narrative of places like the Victoria Mansion.