its been awhile since ive made the decision to speak my truth through words. but my truths have crawled out of every opening of my being no matter how tightly i sometimes work to hold them in. how much i may try to work to transform them inside my gut, inside myh psyche, inside the walls of my womb.
ive felt them twist and curl until they slumped onto the floors. until they seeped out after knocking into crackd lips and blackened the burrows of my eyes. theyve bled out onto the sheets. clumps of something that once was alive but suffocated. there was no air for them to breathe. for the wind to carry them tso they live out their purpose. the mother to my words. to my truth. does not always know how to be motherly…
the ones i did nurture i held tightly in my hands. ive threaded cloth for them. dressed them well when appropriate, and allowed their spirits to flourish in mud when it rained. they grew strong and never had to run from being broken and enslaved. though they knew the others weren’t able to feel the blessings of life, they never resented their mother. who else can forgive and love a mother more than her own child?
and who can feel for a child unborn more than the childs own mother?
guilt blossoms in unturned soil. its flower, honeybees will not pollinate. its sap poisons the stream its own life is owed to. its survival from the death of what has never lived. a demon who will shame the first word of god... its true... that everything comes from nothing.
photos from The Black Woman is God : Divine Revolution at SOMArts, San Francisco, CA & Cloud of Witnesses with Jarrel Philips at Omi Gallery in Oakland, CA 2017
deck of 8 handrawn pieces designed in collaboration with Black Quantum Futurism for Free For All event at the Institute of Contemporary Art in Philadelphia, PA.
pulled from the sea floor.
has the mouth of god. read from clean hands.
Also I've been honored to be featured on the Black Femme Witches Brewmagazine alongside some magnificent creators!!
watermelon. abundance. you.
circling around the s.
snakes from sirius system to senter of your root..
we all agreed to this some how but this is for you.
Photos of She Who is the Power Which is the All You Deserve for The Black Woman Is God: Reprogramming That God Code.
(Link to more photos from the Opening Reception coming)
"Other than botanists, few people consider that watermelon (Citrullus lanolin) is African. Yet this is so: the crop’s wild ancestors occur abundantly in the dry zones of the continent’s southern region. The African origin may come as a surprise only because watermelon spread around the globe so long ago that for most people it has become part of the wallpaper of life.
Today, this African fruit is cultivated throughout the warmer parts of the world—from the searing tropics to temperate latitudes and even beyond. Global annual production is approaching 100 million tons. Yet Africa scarcely registers in statistics: the largest producers arc Turkey, Iran, and Egypt, the United States and Mexico. and—especially—China, which produces over two-thirds of the watermelon in the world. While consumption in the United States has been fairly stable over the past 25 years, elsewhere demand is increasing, and indications for the future suggest ever-greater global production.
Given all this success, it is intriguing to consider that only a few watermelon types emigrated out of Africa. The descendants of those select few rose to a place among the best known of all the world’s fruits. With their colorful flesh and luscious sweet juice, they have been called the food of heaven. Mark Twain once wrote, "The true southern watermelon is a boon apart and not to be mentioned with commoner things. It is chief among this world’s luxuries, king by the grace of God over all the fruits of the earth. When one has tasted it, he knows what the angels eat. It was not a southern watermelon that Eve took: we know this because she repented.”
- Lost Crops of Africa: Volume III: Fruits. National Academies Press
walk in. washing over. + - + = - + -
yes. i draw black gods/ess. because that is what i am.
and i will be joining a myriad of artists for The Black Woman Is God : Reprogramming That God Code exhibit/ movement curated by fam Karen Seneferu and Melorra Green. Show is up July 7th - August 17th, 2016 at SOMArts in San Francisco.
Opening Reception is July 7th 6-10pm
and to add new book Out of Seeds with scripts by Tahjanee Singleton and drawings by myself.
all books are hand bound and
Out of Seeds is a reflection of/is the IS something unseen but felt. something that i express but can not formulate into apa style of writing. something that i wish to beam out and use to communicate in my own language. this is an energy swelling and breaking the dam that has foolishly been erected to stop a flow bigger than us as singular beings...yet it IS us in our singularity and multiplicity and power and madness and wetness and deadness.
all that is.
Out of Seeds
email me for a copy
(Paypal link was removed for the moment due to travels and excessive shipping prices)
the love that let you love.
watching them spiral out of the tree they made home.
new 8.5x5.5 prints on etsy
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as a creator, i am faced with having to answer questions that deal with what my art is about and the meaning behind recurring symbols, faces, etc.
the answer seldom remains the same and very rarely do i feel satisfied with what i have verbally communicated with the inquisitor about the nature of “my” work. *tangent: “my” work because of my beliefs of channeling thru creating; my – without parenthesis- work when relating to the external world as a professional artist in capitalist society.
anyways, those questions bring up a swirl of excitement, unease, anticipation, and other ambiguous emotions i have yet to distinguish. all-in-all there must be a better way to navigate the demand and expectation to explain yourself as an artist. perhaps through the combination of various creative mediums and content silence.
i’m sharing pieces of a recent application where i was to write about my “conceptual intent” for people who are curious about the meanings of the work here…
She Who Holds A Thousand Souls
Graphite and copper leaf on dyed Rives BFK
She is the one who transforms living matter into decay and allows the breath to pass through. She's also unpredictable and uncontrollable like the weather. All of her animals are aspects of her.
Those Who You See Standing With Her In Silence
Graphite on dyed Rives BFK
Drawing with pencil and powdered graphite. This is in reverence to the connection me and my ancestors have to our hair, specifically locs. There are stories in our locs that keep us rooted in our power to who we are truly. The coco bean on top of their head is to represent our journeys to the Americas. The portal/circle with the wave vibrations is the sun or sol, symbols that I hand draw frequently throughout my work. The center circle is to align with the audiences heart while standing in front of the piece. They are to feel that they are the drawing itself.
The Ready (Storm)
Graphite on paper
This is apart of a collection of "Aurites". Aurites is a term I created combing the words aura (also AU for gold) and light. They are beings/spirits/energies that are always present and can be seen at times. They are kindred to us and all living matter.
She Who Rode the Wind to Talk to Me
Graphite on Rives BFK
She is also the first ancestor in the slide in a different form. She has a horse tail which she uses to ride the wind. The horse and its tail are symbols in my work to connect to the power of the wind on breath. Her songs speak to me.
Graphite on paper
Drawing with 0.3mm mechanical pencil(used in all my drawing) in reverence to our sexuality as women and loving our wombs and vaginas. Water buffalo have been frequent animals in my work. Horns are often feared as is a free and healthy sexuality from black women. Combining shadowed or suppressed parts of our selves is common in my work which why it may be feared by some. At heart, it is a representation and deceleration of self love.
Colored graphite on paper
This drawing was done with and blue mechanical pencil. The masks are ancestors. The center is a portal grid. The baby was the last part drawn as I did not know what I was going to draw. They are "everything" and has just arrived from the ancestral realm. This is apart of an ongoing series of blue pieces.
How Many Times Must We Die Until We Are Allowed to Live? (heLa)
Graphite on dyed Rives BFK
This was a piece that took about a year to finish. The center is a portal. Hives and hexagons are very frequent in my recent work. I didn't know why they started to appear or why I started to draw them but I will share my thoughts: The honeybee population along with other essential pollinators is declining. There's constant threats from electromagnetic frequencies which agitate their ability to find their hives, . As humans, we often forget that we are sensitive to changes in our environments, and unseen pollution is not attended to. If we continue to take shortcuts and deny the effects our technology is having on our selves and our kindred beings, we will be left suffering. It is also a story that sounds similar to the stories of melanated people's in colonized or gentrified areas. The piece is dedicated to Henrietta Lacks, a woman who's cells (heLa) were, without permission, taken to be used in medical studies - they are still alive and growing yet she has passed on.
Three 8'x10' walls
Chalk mural and installation on acrylic wall
This pieces was for Making A Scene: 25 Years of Alternative Bay Area Spaces at SOMArts in July of 2015 in San Francisco. This was the second time doing a mural with chalk and I had no sketch of what to do. I prefer to allow whatever images or ancestors need to come through without me controlling which is why what’s drawn is decided but the moment and space. The installation was done within 4days and is a baby in the womb. It is said that we chose our heads/ our life's path and tools before we are born. The mask are ancestors as is the baby who has been born many times.