Munroe was born and grew up in the impoverished, stigmatized and often marginalized Grants Town community in Nassau, Bahamas. In 2004, he moved to the United States at the age of 21. His work functions as a reflection of the environment of Munroe’s upbringing, and draws from memory the crude graffiti on the walls that surrounded his street. The artist maps a personal journey of survival and trauma in a world of gang violence, drugs, murder, self-discovery, development and overcoming obstacles through self-determination. Though inspired by the past, Munroe’s loud, energetic and unapologetic visual language confronts contemporary society and the strained and difficult relationships between authority and people of the ghetto.
As well as tapping his own experiences, much of Munroe’s practice comprises research that is informed by critical investigation and theories surrounding mythology and literature. Referencing Joseph Cambell’s ‘The Hero’s Journey’, Elaine Brown’s book ‘The Condemnation of Little B’ and Stanley “Tookie” Williams’ memoir, ‘Blue Rage, Black Redemption’, Munroe explores a number of social stereotypes in order to critique and challenge disparities that cut across gender, race, class, and age.
Though framed in fictional narratives, my work explores and in many ways critiques real life situations that I have either personally experienced or encountered through research. Oftentimes I am reminded of the underlying darkness that reoccurred in childhood fables – in a sense, drawing a parallel to the menacing motifs that occur in my work.
Lavar Munroe b.1982, Nassau Bahamas, works between Germantown MD and Nassau Bahamas. Upcoming exhibitions include 'The Other Side of Now' at the Perez Art Museum Miami. Works have been included in exhibitions at MAXXI Museum in Rome, National Gallery of Bahamas, Nassau, Meadows Museum of Art, Louisiana, ‘Prospect 4’ triennial, New Orleans, directed by Trevor Schoonmaker, ‘All the World’s Futures’, 56th Venice Biennale, curated by Okwui Enwezor, 12th Dakar biennale, curated by Simon Njami, Orlando Museum of Art, Nasher Museum of Art at Duke University, and SCAD Museum of Art among others.