This weekend past, I had the pleasure of participating in the annual Juried exhibition, Art of Soul!, at the National Afro-American Museum and Cultural Center, in Wilberforce, OH. Neighboring two HBCUs, this was a wild trip and a weekend that I doubt I will ever forget.Continue reading “Art of Soul! at the NAAMCC, Ohio”
Plus/Minus is an exhibition on the introspective expression of negative space with work created by emerging Southern California based artists.
Negative space stands perspective on its head. Personal ideas take shape not only within the context of an art piece, but also in the absence of material in an art piece. Negative space, can be compared to the blank spots in each of our own experiences in relation to those around us. The morphing of perspective can be compared to the morphing of shapes and images in art. In this exhibition the artists will be discussing the ways that art can approach social delineation and personal perspective through the use of space. Every person has a different life experience, a different reality, and a different perspective. By looking between the lines, at the shapes our ideas take, and at the places they find blank, a person can find what they need to learn.Continue reading “+/- An Exhibition on Negative Space”
“I was as honest with my passions then
as I am now.“
My eyes linger over these forgotten photographs and I am brimming with varied emotions that range from intrigue, to sorrow to awe. Part of me is curious to recall my thoughts during this project. I photographed these images back in 2015, under the instruction of Suda House. Affectionately, I found her… cooky. She introduced me to the dark room, taught me the best F stops and Apertures, and gave me my first taste of applied art theory. I don’t remember what the prompt was exactly but I distinctly remember the work evolving into something of its own.Continue reading “Reflect(s)”
I struggle finding the words to talk about this piece. Not because I lack any, but rather that I have too many. To sum it as best I can, it is a compression of ancient and contemporary African experiences. More on this topic in a future post but I am noticing a trend that I unknowingly created for myself; capturing moments in time.
This drawing is an attempt to capture the past and the present in one panoramic frame. Through appropriation and collage, I have knitted what I hope conveys the moving stillness that is African and African American culture. Over decades (even centuries) traditions of dance and celebration are still valued and practiced in both cultures even today.Continue reading “Of Days, 2019”
In closing my undergraduate education at the University of California, San Diego my Studio Honors Cohort exhibited our Thesis projects in a group showing at the Adam D. Kamil Gallery. Our opening reception was June 4th, 2019.
Simultaneously, the opening reception for the 2019 Visual Arts Senior Class Exhibition was on June 4th, 2019.Continue reading “UCSD Senior Art Crawl: Honors Thesis & Here/After 2019”
A collection of work by the 2019 undergraduate seniors is currently being exhibited and a recent pics of mine is on display. If you have time and will be in La Jolla, CA between May 28 and June 16, 2019 be sure to stop by and check out the show. I’d love to see you there!
For more information, use the Facebook events link here.
I am proud to annouce that I will soon be a graduate of the UCSD Visual Art: Studio Honors 2019 Cohort. Our group thesis exhibiton will open on Tuesday, June 4th with an opening reception from 5:00pm to 7:00pm.
Admission is FREE and refreshments will be served in appreciation for guest attendance. Come and support San Diego’s budding studio artists!
For more information, use the Facebook Events link here.
Adam Kamil Gallery, La Jolla, CA
La Jolla, CA, 92093
April 2 – 4, 2019, 1:00pm – 4:00pm
Opening Reception April 2, 5:00pm – 7:00pm
Reviews from the exhibition are rolling in and it is honestly humbling to hear the comments made about the work. In case you weren’t able to attend, here a few photos from the exhibition!
Adam Kamil Gallery, UCSD
La Jolla, CA, 92093
April 2 – 4, 2019, 1:00pm – 4:00pm
Opening Reception April 2, 5:00pm – 7:00pm
Free & Open to the Public
Snitch is an exhibition of drawings that investigates the social dynamics of religion and power in America and their effect on African American women. Power is an ever-present issue for black women in areas of sexuality, bodily autonomy, and self advocacy. African Americans are a predominantly Christian group and, with much of their cultural value being built upon religious belief, many systems of misogyny and patriarchy are still upheld. However, with great efforts, many African American women are working to dismantle the social systems that perpetuate oppressive and repressive norms by examining the sources of these culturally accepted ideologies. This exhibition intends to aid in that effort.
Africann American women have been the initiators of social justice movements like #MeToo, Womanist, and the Feminist Suffrage but have historically been the smallest beneficiaries. On average, church populations in predominantly African American communities are female, yet few churches allow for women to be primary church leaders leaving positions of power male dominated. Commonly, African American women are active participants in their communities, churches, and neighborhoods. Referred to as “Super Women” as they are seen to be able to “do it all” and are often the matriarchs of their families, bearing both the role of breadwinner and homemaker. Recent studies show that the stress endured by African American females has been the leading cause of heart disease, miscarriages, and psychological disorders. The strength of the African American female has been misrepresented as hypersexual, aggressive, and violent in attempts to justify heinous acts of violence against them. These socially discriminative perceptions have been linked to a high number of cases of maternal mortality, medical misdiagnosis, and premature death.
Using a variety of materials, this collection of drawing aims to find the connection between religion, power, and the African American Female, in hopes to uncover the causes of the aforementioned disparities. These drawings are graphite on black illustration board, with metallic highlights of gold and silver that illuminate various depictions within the space. The figures are stretched to extremes capturing cinematic frames of dynamic gesture. The content alludes to areas of life that are sacred for many, taboo for some, but necessary for all, raising questions of existentialism, spirituality, and sexuality.
Kimberly R. Heard is a draftsman currently living and studying in San Diego, CA. Kimberly is native Californian who lived in Birmingham, AL during her adolescence and early adulthood. Her work aims to decipher the learned from the intuitive; to understand the complexities of the African American existence and investigate the social politics that surround the black experience. Identifying as both Christian and an African American woman, the artist perceived herself as a ‘snitch’, dispelling cultural truths that would otherwise not be publicly addressed.
“There is a black which is old and a black which is fresh. Lustrous black and dull black, black in sunlight and black in shadow”Ad Reinhardt
For the past year I have been working on a collection of drawings for my own solo exhibition this spring. The official publications will follow sometime after this post but I thought a sentimental explanation of the concept would be fun.
While working on my comic series Cypress Tales in July, I developed a fondness for the India ink I’d been using for the illustrations. The contrast between the white of the mixed media paper and the black pigment in this ink was striking to me. Intimidating to an extent. I finished the first installment of the comic and was left with the India ink, some sharpies, and micron pens. My wheels turned over a way that I could use these black materials together. What would it mean to work black on black? I eventually expanded the idea to encompass not only mark making tools but the surfaces I could use that were black, and what it could mean conceptually; to use a black material to make a black mark on a black surface. An endless void of blackness.
In “Black as Symbol and Concept,” Ad Reinhardt said, “There is a black which is old and a black which is fresh. Lustrous black and dull black, black in sunlight and black in shadow”. I think of this when look at the work in this exhibition, the idea of ‘blackness as a symbol and a concept’ on display in MOMA, Guggenheim, and other museums around the globe. I thought of the many shades on shelves labeled ‘black’, all singular variations of the same semiotic referent. Impressive how five symbols carry such loaded meaning, narrative, and policy. Blackness has been policed globally for centuries, so much that many black communities now police themselves, holding each other to behavioral guidelines that carry more weight than many can bear.
“…Because there are unspoken guidelines to your Blackness; there are penalties and consequences for stepping outside of the regulations preset long ago by elders who were finding their way between busing and lynchings, pork fat grease, ham hocks, and cotton bale finger pricks. To defy these laws is to defy yourself, to defy your people. Yes, your people. You are kin, even if you have not chosen to be. You will speak, must speak, to the soul and spirit of all those who share the complexion of you, the complexities of you…” – Joel Leon
I thought “What kinda black am I?” Am I a black that is old? Fresh? Lustrous or dull? I don’t know, yet. This exhibition of drawings journal my contentious relationship with blackness as well as the social, cultural, and political systems that contribute to my identifying with it. If you find yourself in San Diego, CA during April 1-5, 2019, stop by the Adam Kamil Gallery and view the exhibition. I’d love to see you there.
“Black as Symbol and Concept,” in Barbara Rose, Art-as-Art: The Selected Writings of Ad Reinhardt (New York: University of California Press, 1953), 86.