Soon Come, Likkle More by Jhanique Lovejoy is an installation of new photographic works that incorporate Black photographic praxis through alternative processes, textiles, and sculpture.
Featuring everyday images such as passport photos and other ephemera often found in Jamaican homes, this multi-room experience transports viewers from Washington Heights to Jamaica, exploring how memory and identity are preserved in domestic and diasporic spaces.
Throughout the first-floor parlor, Jhanique Lovejoy’s new photographic experiments investigate the photograph as both image and object. Lovejoy’s photos draw from her family’s archive, specifically photos and negatives from her late mom’s collection from Jamaica in the 1980s to her mother’s life in New York in the 2000s. Through her retelling, these photographs become an intimate, multigenerational portrait of her Jamaican-American family’s migration, memory, and preservation of their homemaking.
Central to the installation is the recreation of a family member’s “Jamaica Corner,” a living room display containing Patois dictionaries, Jamaican heritage dolls, and national iconography, keeping cultural connections while living in “foreign.” In Jamaican Patois, “foreign” (often pronounced as “farin”) refers to any country outside of Jamaica, most commonly the United States, United Kingdom, or Canada.
The glass case in the first-floor parlor features 1990s dancehall records, such as Kuff by Shelly Thunder, alongside other Jamaican-American ephemera, reflecting how diasporic households preserve intimacy, memory, and connection to home through everyday objects and images.
On the second floor, the bedroom installation reconstructs fragments of Lovejoy’s childhood in Queens, New York, alongside memories of her mother’s home in Kingston, Jamaica. Pulling from personal and familial visual histories, Lovejoy recreates domestic objects and interiors from memory: the china cabinet from her Great Aunt Faye’s home, the quilt from the bed she shared with her mother for fourteen years, and the beaded curtain leading into her grandmother Lona’s yellow kitchen.
Lovejoy hasn’t been back to Jamaica since she was two, waiting to go to Jamaica once her mother received her green card. She reflects on the archival and meditative practice of diasporic memory, a love and language inherited through stories over calling cards.
The cyanotype quilt draped across the bed serves as a sculptural intervention within the museum’s historic home. Thinning the boundaries between photography, site-specific installation, and the domestic home in the process.
Soon Come, Likkle More considers how photography is more than documentation—it is a medium that embodies an archive of diasporic and familial memory. Soon Come, Likkle More is an ode to Jamaica, and an ode to Natasha Lovejoy.
Opening Reception
Saturday, June 6, 2026 at 6pm
On View
June 6, 2026 – October 24, 2026
Aunt Jean’s Jamaica Corner, 2026. Vinyl of Kuff by Shelly Thunder, vinyl of Belafonte by Harry Belafonte, two Jamaican heritage dolls, Art of Dancehall: Flyer and Poster Designs of Jamaican Dancehall Culture by Walshy Fire, Jamaican Proverbs Dictionary, The Official Dancehall Dictionary, Jamaican Patois Dictionary, double-six dominoes and archival fine art prints on ultra premium photo luster.
Jhanique Lovejoy (b. 2001) is a New York imagemaker whose practice engages with multiplicity through the lens of race and culture.
Jhanique Lovejoy is known for her deeply intimate portrayals of her relationships as a queer Jamaican-American artist, encompassing both familial and romantic connections. Utilizing alternative processes, collage, and insights from her musicological studies, she explores themes of family archives, love, and the preservation of Black family history. By delving into the complexities of recollection, Lovejoy’s work serves as a testament to the multifaceted nature of Black Caribbean womanhood.
She received her Bachelor’s in Photography and Ethnomusicology from Swarthmore College in 2023. She has shown her work at the Kolaj Institute, Soho Photo Gallery, List Gallery, Kitao Gallery, Sotheby’s, International Center of Photography, Smack Mellon, and The Cooper Union, and commissioned work for The Baldwin United Fund. Publications carrying Lovejoy’s images include Voices Magazine and ISO Magazine @ NYU.
UPCOMING EVENTS
Through a guided discussion with artist Jhanique Lovejoy, participants will explore the role of family photographs in Caribbean and Black diasporic archival traditions, oral histories, and intergenerational preservation.
Moving from discussion to practice, participants will engage directly with archival tools and methods by digitizing personal photographs, negatives, and ephemera from their own family archives with a high-resolution scanner provided at the workshop!
Each participant will receive an archival-safe polysleeve to properly store the family photos they brought to the workshop and a personal USB containing their scanned photos from the workshop.
Participants will also have the opportunity to browse curated examples of Caribbean archival history and preservation practices in order to develop a foundational knowledge of archival processes, digitization, and creating archival ephemera.
What to bring:
- 5 4×6 or 5×7 sized photos from your family archive OR
- 1 8×10 photo and 2 4×6 or 5×7 photos from your family archive OR
- 2-5 negatives, newspaper clippings, and archival documents from your family archive.
Date: Saturday, June 20, 2026
Time: 4pm-6pm
Cost: Free
RSVP Required? Yes, register on Eventbrite! Only 15 seats available.
Location: Dyckman Farmhouse Museum (on the corner of 204th Street and Broadway)
Join us for a free, drop-in cyanotype and sun print workshop for all levels with artist Jhanique Lovejoy!
Bring photographs, negatives, or ephemera from your own family archive or experiment with flowers, historic images, and found objects from Dyckman Farmhouse Museum and Gardens. No experience necessary and all ages welcome!
First come, first serve while supplies last.
Date: Saturday, June 27, 2026
Time: 12pm-3pm
Cost: Free
RSVP Required? Nope, this a drop-in community event! Feel free to register on Eventbrite for a calendar reminder!
Location: Dyckman Farmhouse Museum (on the corner of 204th Street and Broadway)
Join Jamaican-American artists Jhanique Lovejoy and Kat Thompson for a discussion centered on family archives as living repositories of Black history, memory, storytelling!
Hosted by Dyckman Farmhouse Museum Alliance, this conversation brings together Jamaican-American artists Jhanique Lovejoy and Kat Thompson for an intimate discussion about Lovejoy’s exhibition, Soon Come, Likkle More at Dyckman Farmhouse Museum.
Working across photography and textiles, they will reflect on the ethics and significance of incorporating family archives into their respective artistic practices. Together, they will explore how domestic archives and ephemera preserve the shared histories, cultural memory, and lived experiences of the Jamaican diaspora.
Jamaicanisms: Jhanique Lovejoy & Kat Thompson in Conversation invites the community into an inspiring and thought-provoking dialogue about the histories we inherit and the stories we choose to carry forward for generations to come.
The recording of this discussion will be available on Dyckman Farmhouse Museum’s Youtube Channel after the event.
Date: Tuesday, June 30, 2026
Time: 6pm-8pm
Cost: Free
RSVP Required? Yes!
Location: In-person at Dyckman Farmhouse Museum and virtual via Zoom
Jhanique Lovejoy (b. 2001) is a New York imagemaker whose practice engages with multiplicity through the lens of race and culture. Lovejoy is known for her deeply intimate portrayals of her relationships as a queer Jamaican-American artist, encompassing both familial and romantic connections. Utilizing alternative processes, collage, and insights from her musicological studies, she explores themes of family archives, love, and the preservation of Black family history. By delving into the complexities of recollection, Lovejoy’s work serves as a testament to the multifaceted nature of Black Caribbean womanhood. She received her Bachelor’s in Photography and Ethnomusicology from Swarthmore College.
Kat Thompson (b. 1991) is a lens-based artist and educator based in Virginia. Her interdisciplinary practice spans photography, video, textiles, sculptural collage, and installation. Through layering and material juxtaposition, she examines how images and objects function as vessels for memory, history, and identity, with a particular focus on the African Diaspora. Her work considers the construction of Black selfhood, exploring how cultural memory, ancestral inheritance, and lived experience converge across personal and collective narratives. She is a 2023–2025 Hamiltonian Artists Fellow. Thompson holds an MFA in Photography & Film from Virginia Commonwealth University and a BFA in Photography from George Mason University.
Soon Come, Likkle More by Jhanique Lovejoy is made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. These programs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Soon Come, Likkle More by Jhanique Lovejoy is made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. These programs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Sueños en Azul, 2026. Cianotipia sobre satén de algodón con un relleno de algodón cosido, fijada a un soporte de satén de algodón. 62.5 x 61.5 pulgadas.
Soon Come, Likkle More por Jhanique Lovejoy es una instalación de nuevas obras fotográficas incorporando la praxis fotográfica negra a través de procesos alternativos, textiles y escultura.
Presentando imágenes cotidianas como fotos de pasaporte y objetos efímeros que viven en hogares jamaiquinos, esta experiencia multisala transporta a los visitantes en Washington Heights/Inwood a Jamaica tras explorar la preservación de memoria e identidad en espacios domésticos y diaspóricos.
Por todo el salón del primer piso, los nuevos experimentos fotográficos de Jhanique Lovejoy investigan la fotografía como imagen y objeto. Para esta colección Lovejoy se nutre de los archivos de sus familiares, particularmente de las fotos y los negativos de la colección de su difunta madre que abarca desde su adolescencia en Jamaica durante los 1980s hasta su llegada a Nueva York en los 2000s. A través de este nuevo relato, las fotografías se convierten en un íntimo retrato de la migración, memoria y preservación de los procesos de creación del hogar de su familia jamaiquina-americana.
Central a la instalación es la recreación del Rincón de Jamaica de un familiar, una exhibición de sala con diccionarios de Patois, muñecas tradicionales, y iconografía nacional guardando la conexión cultura viviendo en el exterior o foreign. En Patois Jamaiquino, foreign (pronunciado “faa-rin”) se refiere a los países del exterior, comúnmente a Estados Unidos, el Reino Unido o Canadá.
La vitrina contiene discos de dancehall de los 1990s como Kuff de Shelly Thunder junto a otros objetos efímeros jamaiquino-americano, reflejando como hogares diaspóricos preservan intimidada, memoria y conexión a origen tras objetos cotidianos e imágenes.
En el segundo piso, la instalación en la habitación reconstruye fragmentos de la niñez de Lovejoy en Queens, Nueva York, junto a las memorias del hogar de su madre en Kingston, Jamaica. Partiendo de las historias familiares, Lovejoy recrea objetos y interiores domésticos de memoria: la vitrina de porcelana en casa de su Tía Faye, la colcha de la cama que compartió con su madre durante 14 años, y la cortina de cuenta en el marco de la entrada a la cocina amarilla de su abuela Lona.
Lovejoy no ha vuelto a Jamaica desde los 2 años, esperando a que su madre obtenga su tarjeta de residencia para poder viajar y regresar juntas. Ella reflexiona sobre las prácticas archivísticas y meditativas de la memoria diaspórica, un amor y lenguaje heredado a través de historias transmitidas por tarjetas de llamada.
La colcha de cianotipia tendida sobre la cama actúa como una intervención escultórica en la casa histórica del museo. La obra diluye las fronteras entre la fotografía, la instalación de sitio específico y el hogar doméstico.
Soon Come, Likkle More plantea la fotografía como más que una documentación–es un medio que da cuerpo a un archivo de la memoria familiar y diaspórica. Soon Come, Likkle More es una oda a Jamaica y una oda a Natasha Lovejoy.
Celebración de inauguración
Sábado, 6 de junio de 2026, a las 6pm
Abierto al público
Del 6 de junio de 2026 al 24 de octubre de 2026
Sra. Ayana Lovejoy y Piedra o Lavanda, 2026. Lámina artística de calidad de archivo impresa en papel fotográfico satinado de gama alta, enmarcada en roble. 6×8 pulgadas.
Jhanique Lovejoy (n. 2001) es una creadora de imágenes neoyorquina cuya práctica artística aborda la multiplicidad desde el lente de la raza y la cultura.
Lovejoy es conocida por sus retratos profundamente íntimos de sus relaciones como artista cuir jamaiquina-estadounidense, que abarcan tanto los vínculos familiares como los románticos. Utilizando procesos alternativos, el collage y los conocimientos adquiridos en sus estudios de musicología, explora temas como los archivos familiares, el amor y la preservación de la historia familiar negra. Al profundizar en las complejidades del recuerdo, el trabajo de Lovejoy sirve como testimonio de la naturaleza multifacética del ser mujer negra caribeña.
Obtuvo su licenciatura en Fotografía y Etnomusicología en Swarthmore College en 2023. Ha exhibido su obra en Kolaj Institute, Soho Photo Gallery, List Gallery, Kitao Gallery, Sotheby’s, International Center of Photography, Smack Mellon y The Cooper Union, y ha realizado trabajos por encargo para The Baldwin United Fund. Entre las publicaciones que incluyen imágenes de Lovejoy se encuentran Voices Magazine e ISO Magazine @ NYU.