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.