Della Wells’ “Mambo Land” at Andrew Edlin Gallery is described as “a mix of cubist formalism and folk art memory to tell the stories of….[the] characters of Mambo Land, a world where Black Women rule.” 

Sure, yes. Also: imagine a vision board party where the theme is Black Girl Luxury/soft life aesthetic meets small-town chic and you’ve got the picture. The combination of color and flowers, plus the assemblage of couture ensembles, cornrows, and even a BAPS-style updo from printed clippings are (obviously) collage but with a touch of paper doll play. Teeny details (like a silver baby shoe) and cheeky titles (“No, I am not giving you my princess shoe”) make it feel like you’re looking into various rooms in a dollhouse. The playthings are frozen in motion; the scene only stands still because you’re staring. 

Each subject can barely contain her main character energy. She’s poised and ready for her close-up, alive enough to jump to action as soon as you look to the next room. When there is a window there is often a set of Caucasian eyes peeking through with jealousy disguised as curiosity (and if I could enter the image I’d remind them to mind the business that pays them). But these coiffed and carefree women don’t need my protection or anyone else’s. In “Mambo Land”, it feels like each woman’s story ends with “happily ever after,” every black girl’s dream.