Sink or Swim

20 x 16 in.

Acrylic on Canvas

$800

Shakti

40 x 30 in.

Acrylic on Canvas

$2200

Eddy

40 x 40 in.

Acrylic on Canvas

$2800

Stronghold

30 x 30 in.

Acrylic on Canvas

$1800

Untitled Yellow

59 x 125 in.

Enamel, Acrylic, and Spray Paint on Unstretched Canvas

$15,000

Untitled Red

60 x 72 in.

Enamel, Acrylic, and Spray Paint on Canvas

$12,000

Untitled

Enamel and Acrylic on Canvas

24 x 48 in.

$1200

Duality #1

10 x 8.

Oil on Canvas

Duality #2

10 x 8 in.

Oil on Canvas

Chenjera Oil Sketch (En Profile)

10 x 10 in.

Oil on Canvas

$350

Awaken, My Love

21 x 48 in.

Oil and Gold Foil on Canvas

$1700

Petrus Camper Defaced

10 x 8 in.

Oil on Canvas

$450

Portrait of @yaytuneday

Oil on Canvas

Untitled

24 x 24 in.

Oil on Canvas

Si El Norte Fuera El Sur (If The North Was The South)

20 x 20 in.

Oil on Canvas

Portrait of Tia Sandra

30 x 40 in.

Oil on Canvas

Wynton’s Tune, Serigraph, 30 in. x 22 in., Ltd. Edition 100, 2004.

Faith Ringgold prints are provided by Raven Fine Art Editions of Easton, PA. Produced in collaboration with the renowned master printer Curlee Raven Holton. Ringgold and Holton began working together in 1997 producing over 30 separate editions. Many are included in the permanent collections of museums such as the Metropolitan Museum of Art, Pennsylvania Academy of Fine Art, National Gallery of Art, and the David C. Driskell Center.

Henry Tanner: His Boyhood Dream Comes True, Serigraph, 30 in. x 22 in. framed, Ltd. Edition 100, 2010.

Release, Ink on paper, 22 in. x 30 in. framed, 2/19.

Letting go is very hard to do. The moorings of our temporal life are powerful and seductive. We enter this world with our being defined by external reflections that offer emotional, physical and psychological validation. These experiences often bring with them pleasures and comfort. As our consciousness and understanding of what is essential and needed by us rather than being driven by our selfish wants we become liberated from the tyranny of status and object worship.Releasing things that bind us frees us to accept the frailties and unpredictability of life. The Buddhist saying, have less and have more, have nothing, have everything represents the growth and understanding that as we have less possessions we make both physical and spiritual space for a deeper appreciation of what is truly important.

Memories of Two Moons, Ink on paper, 22 in. x 30 in. framed, 8/19.

Memories offer us a way to manage challenges in life that otherwise would render us paralyzed with doubt and anxiety. Memories we possess or those given to us by family members aid us in negotiating new realities with stories of survival and triumph. These memories, often multi-faceted and multi-layered with meaning, provide us with illumination and understanding of the dark waters as they rise to engulf us.

Mors Negra, Acrylic on board, 30 in. x 36 in., 1/19.

Black Death as a natural process however during Codiv it is accelerated. As blacks we are the lease able to protect ourselves , the lease able to have quality health care, the lease able to afford staying alive. Is this the natural order of selection or is it the removal of the weakest?

New Adam & Eve, Acrylic on board, 23 in. x 30 in., 8/21.

Our new world is now perilously close to being poisoned by humans. We have soiled the garden, we have altered natures from our provider to our assaulter. Our air , our water, our lands have been made into corporate enterprises. What was once our bread basket have now become ovens that cook biologically altered artificial ingredients packaged as food. All intimacy is lost and we now express our innermost feelings while wearing a protective gas mask. The purest of nature's embrace embodied by the story of the Garden of Eden and Adam and Eve is perhaps forever lost to us.

Portal, Reeds, plastic, raw silk, cotton, beeswax, 80 in. x 62 in. x 4 in., 2021.

Reconstruction, Reeds, plastics, cotton, raw silk, natural and man made found objects, 75 in. x 42 in. x 4 in.

Pineal Cone, Serigraph, 21 in. x 16.5 in., framed.

Stills, Serigraph, acrylic, 12.5 in. x 29 in.

Unseen, Video loop.

Near-at-Hand #13, Antique wood-handle steel wrenches, dressing table mirrored vanity tableau and stained-glass rondel, 6 in. x 14 in. 2020.

Near-at-Hand #17 , Antique hand drill, brass table lamp base, repurposed meat fork and stained-glass rondels, 20 in. x 12 in. x 5 in., 2021.

Near-at-Hand #16, Antique, handmade wood vice clamps and stained-glass rondels, 22 in. x 9 in. x 9 in., 2021.

Broken, Color pencil and graphite on black fabriano paper, 13 3/4 in. x 18 1/2 in. framed.

I Remember You as You Were, Color pencil and graphite on black fabriano paper, 13 3/4 in. x 18 1/2 in. framed.

The Message, Color pencil and graphite on black fabriano paper, 13 3/4 in. x 18 1/2 in. framed.

Abide (Pinar del Rio, La Habana), Digital video projection on tobacco-stained paper, 2018/2021.

Perseverence (mierda, ya mas nunca se irán), Gold leaf on tobacco-stained paper, 30 in. x 44 in., unframed, 2021.

Baila, Baila! (i know what boys like), Gold leaf on tobacco-stained paper, 30 in. x 44 in., unframed, 2021.

Princesa, Marinero (columna sin fin), Butterflies, inner tube, fishing hook, thread.

Night Angel, mixed media print, 22.5 in. x 15 in. framed.

Artist and Trees, Mixed media prints, 22.5 in. x 15 in. framed.

Demonstrating Downtown, mixed media collage.

I’ve been creating collages for most of my life starting when I covered the walls of my dorm rooms with photographs, magazine clippings, art cards and more. The majority of the collages I now create are abstract figurative images usually developing as a “series” that addresses a specific personal or global issue or current event. With each series, my compositions have evolved from torsos to full bodies, from beautifully unclothed “goddess” forms to “paper dolls” with clothes, from beings set on white backgrounds to figures dressed and going places set against a scene. Using primarily hand cut pieced papers, these images tell a story and though not always immediately obvious to the viewer, what they have to share is impactful, serves as a catalyst for meaningful conversation.

This series, entitled corona visions…glamour has no restrictions, are dressed to be out somewhere while we stay at home during the virus. Each makes her statement in a distinct, sometimes unique, location. A skirt, dress or pants assembled by piecing together a variety of cut papers with different patterns that, once completed mimics movement, is the signature must, as there’s always a connecting link when I create a series of collages. Each one is stepping out as a reminder that no matter what restrictions are placed on us, as artists we have control over how we respond to current events, as individuals we always have control over certain aspects of our lives.

Chillin’ in the Islands, mixed media collage.

Waltzin’ in the (Secret) Garden, mixed media collage.

Give Me the Night, mixed media collage.

My Son is Black, acrylic on canvas. NFS.

Another Damn Mask, mixed media on gallery wrapped canvas, $1,200.00.

Sandra D. Davis likes to experiment with materials and mediums, with a focus on mixed media, utilizing components like acrylics, found paper, newspaper and magazines keeping a “recycled” theme. Her current work is a direct response to issues happening in our country, including present grievances, in- equality and identity of others is a common topic. The impacted parties are not only the same groups of people, but the fight has been recycled and re-emerged and refocused. This has created new fraternities and sororities that has a broader reach and now includes a new generation of how society and people in power want to identify. Issues such as Equal Pay, Health disparity, housing and education and the continued assault on men and women of color are all still topics that remain a real concern. In this era of social media, we are bombarded by tweets, instant messaging, Instagram pics, they are subject matter on their own.

What’s on My Mind, mixed media on gallery wrapped canvas, $2,400.00.

Daughters of the Dust, acrylic and collage paper on canvas, $1,800.00.

TRONJA'S style is influenced by her years of work in the garment industry, as she utilizes bold, vibrant colors, experimental textures and dramatic brush strokes within various mediums to depict figurative art forms. Her art focuses on subjects of women, stories and celebrations.

TRONJA attended Moore College of Art and completed her BFA at Pratt Institute Brooklyn, NY. Her work has been exhibited in Dallas Texas, Seattle Washington and the Washington DC area.

La Contrias, acrylic and collage paper on canvas, $550.00.

Barren One, acrylic and collage paper on canvas, $1,400.00.

Our Lady of Perpetual Servitude, mixed media sculpture, $7500.00.

Terence Nicholson is a visual, performing, and martial artist who integrates these disciplines throughout his work. Unbound from any one medium in his art making, he is particularly sensitive to the quality of rawness in his materials. He is a follower of Taoist thought, which values a state of “emptiness” as key in a true creative process. Listening, being the primary tool developed from this state, he is able to use it as he explores his materials along with conceptual themes of social justice, especially as they relate to gentrification, class, trauma, and spirituality.

Safety Jacket: A Mourning in Chinatown, mixed media sculpture, NFS.

Ten, mixed media sculpture, $3500.00.

A Man Was Lynched Yesterday

A Man Was Lynched Yesterday is an old civil rights saying that was used to express the gravity of the issue of lynching in America. Back when it was popular this saying was true every single day, a man was lynched yesterday. Today it's still true far too often.

When these things happen it's hard to know what to do with yourself. We're so used to the senseless murder of black bodies and still we are powerless. This time the pain my family and I felt was deep. I had to express it in some way so I wrote something that was true, a man was lynched yesterday. We can't count all the times itis happened, we can't number the amount of tears that have fallen, but we can try to make a change.

I've always been full of conviction but practical application is hard for me. I wasn't sure what to do with my prints until my Aunt suggested that I use them as postcards to call for change, so really this was all her doing. She suggested it Wednesday afternoon, May 27th and by Wednesday evening I had set up phone meetings with the movers in my community to plan and strategize. And here we are. Two days in. 50 orders later and doing my best to print cards and keep up with life. No more quarantine boredom for me, because my Aunt gave me an idea that became my platform. A man was lynched yesterday.

Humble -- The Women is Humble and at Peace, Acrylic on wooden board, $650.00 for print.

Wounded (Occupational Hazards Series), 2019, Mixed media, $850.00.

“Occupational Hazards”, created in 2014-2015, was born from the indignity of living in a city in the process of being “gentrified”. In these works, construction materials were interlaced with layered patterns and text. Images of segmented cranes with repetitive triangles interrupt the patterned rhythms of city life. TYVECK, roofing material, drywall mesh, reflector tape, and temporary fencing are both media and message.

Targets shaped like black birds are a metaphor for a people that continue regardless of the manipulation of drugs, guns and poverty to dislodge them. The compositions of these works are without a square or rectangular perimeter, a reference to the tenacious boundlessness of a community, though under siege. Collage is used to express both the shearing and erection of structures and community. This process also encompasses tearing, fitting together gluing, shifting, tacking; all of what can be experienced on a grand scale in a gentrifying environment. Assemblage gave me the opportunity to include found objects that bear witness.

Neighbors are rendered both wide eyed, and betrayed by buildings that have seemingly sprung up overnight, testing their memory of erased structures. Still other buildings have been remodeled, stripped to exposed brick walls, accented by recessed lighting, and retrofitted with magnificent kitchens set in airy floor plans. There is something beautiful in the “new”, and the renovated that can seduce. The seduction inhibits both the powerful and vulnerable, from recognizing gentrification as an exceptionally brutal form of economic violence which also undermines a sense of culture and place for generations to come.

Urban Removal (Occupational Hazards Series), Mixed media, $2,800.00.

When Cranes Roost (Occupational Hazards Series), Mixed media, $4,000.00.

Ghetto Revised (Occupational Hazards Series), Mixed media, $4,000.00.

Be a Hand to Hold, Acrylic on printed plastic, $500.00.

I am a true believer in the healing power of art. It has the ability to transform us, whether we are creating it or appreciating it, and I strive to create imagery that is cathartic or evokes a sense of peace and serenity within the viewer. Art is a therapeutic and integral part of my life. My desire is share my art with others, thereby conveying some human connection between the two.

Sometimes We Feel Discouraged, acrylic on canvas, $450.00.

For me the beauty of creating whether it’s in painting or sculpture lies in it’s simplicity no matter what. I try to create drama with color, texture, and form. Behind my work is the challenge that allows simplicity to be the function of my creations. I want to create the perfect balance between shape, color, surface, texture and composition which is always a challenge and an emotional struggle.

It’s Not What You Call Me, acrylic, $2,500.00.

In My Lifetime, digital photo collage print, $1,000.00.

The artwork assembled is influenced, through personal experiences while attending three historic events in my lifetime. By incorporating images from the 1995 Million Man March, the 2009 & 2011 Presidential Inauguration and the Martin Luther King Jr. Memorial Statue, I’ve applied photographic journalism techniques and digital experimentation to create these digital photo collage prints.

This series reflects my interpretation of time by using elements and images associated with the conceptual theme, “In My Lifetime.” The artwork identifies my interest in recognizing the importance of time as an event itself, what part it plays in one’s life or how one uses it. The viewer will be introduced to the evolution involving a composition that attempts to provoke and promote self awareness, social consciousness and spiritual enlightenment. These elements are projected by great pioneer for Civil Rights during their Quest for Peace and Justice.

These pieces celebrate three commemorative events in American history, especially significant to African American history and culture. To present images highlighting the milestones that occurred and changed our perceptions forever. Imbedded in the composition are recognizable personalities, from network broadcasters and news anchors to political activists and unveiled campaign symbols to identify the events of the day that made a monumental impact.

March on Washington 2013, digital photo collage print $500.00.

Public Enemy Live, digital photo collage print, $500.00.

No Regrets, ink on paper, $500.00.

Ifeanyi Onyejekwe started intricate line drawings at an early age. As a teenager, she decided to put her ink drawings on large pieces of paper. Each detail on the paper sprouted new ideas and she found pleasure in watching her work grow. Each drawing shows how her subconscious imagination intertwines with structured fine lines and patterns to form a beautiful co-existence of fantasy and reality.

Ifeanyi is not a trained artist and as a biomedical engineer by profession, she struggled to embrace the title of “artist” until adulthood. After a visit to the American Visionary Art Museum in Baltimore, she embraced the title of “visionary artist”. Although she is not one to be boxed in, there was comfort in knowing that there is a niche for untrained artists.

Born in California and raised in the United States, Nigeria, Zimbabwe and South Africa, Ifeanyi has carried this self-taught skill with her. Over the years her art work has become a form of personal expression. Although her style has remained consistent, her drawings have evolved over the years. Each piece is unique, open to interpretation and cannot intentionally be recreated.

Tongue Tied, ink on paper, $1,200.00.

Lullabies, ink on paper, $1,200.00.

C.O.V.I.D.19. - Christ Over Viruses & Infectious Diseases (Joshua 1:9), acrylic, glitter, black & white prints, clear resin and broken glass on canvas, $1,425.00.

The entire WORLD is on PAUSE. The COVID-19 pandemic has caused global social and economic disruption, including a worldwide recession, postponement and cancellation of events, school closures, widespread supply shortages, and more. In addition, recent events surrounding police brutality and injustice have sparked mass protests, marches and mayhem, which could lead to a second wave of COVID-19 infections. Enough is ENOUGH!

Plagued by the uncertainties of the return to normalcy, a highly distraught and energetic Sethemba feels compelled to focus his energy into transforming himself into an all-powerful, omniscient being. In mid-transformation, he forms a robustly stimulating Rasengan (spiraling sphere, reminiscent of the planet Earth) that is capable of evoking internal and external healing, restoring faith and unity, and completely obliterating all diseases and destruction. Without hesitation, he unleashes this spinning ball into the universe, so that anyone in its trajectory will be fully and completed cured upon impact by its powerful healing force.

24” x 32” in. framed, photography, 2010. Not for sale.

32” x 24” in. framed, photography, 2010. Not for sale.

Text message from my James to family:

Hi all, I had an appt today and it ran late. I was out of there with very satisfying results. My oncologist says the radiation did very well and nothing was there. I do however have trouble walking, she does not understand why but she referred me to a spinal surgeon, and she knows he can help me with that. After saying my prayer i felt the news would be good and it was. Good night all.

24” x 32” in. framed, photography, 2010. Not for sale.

24” x 32” in. framed, photography, 2010. Not for sale.

28” x 38” in. framed, photography, 2010. Not for sale.

24” x 32” in. framed, photography, 2010. Not for sale.

32” x 24” in. framed, photography, 2010. Not for sale.

24” x 32” in. framed, photography, 2010. Not for sale.

24” x 32” in. framed, photography, 2010. Not for sale.

24” x 32” in. framed, photography, 2010. Not for sale.

32” x 24” in. framed, photography, 2010. Not for sale.

Tawny’s journal entry 9.24.2010:

For some reason every morning I wake up, all I can think of is what I'm going to do next to help my Dad. I am positive that my sister Mecia has that same feeling because my phone rings every morning between 7 am & 7:40 am.

I remember him being in the hospital and his face would LIGHT UP when someone came to visit him. He's always been a "people person".

It's so much better with my father here with us. I am overjoyed that my parents actually live with us! At this moment I should actually be doing work but again, I find myself feeling like a lot of my day should be dedicated to my dad. Not out of obligation, but out of pure love for him.

32” x 24” in. framed, photography, 2010. Not for sale.

Journal entry by Tawny’s sister, Mecia 12.07.10:

So, right now, I am sitting at my desk at work thinking about my daddy. I saw this picture, where he is smiling and happy with my mom. I remember that smile, because even today, it's on his face. I remember his hat that he wears and seeing him at the metro with his red coat and looking as cool as he wants to be. I sit here thinking about all that him and my mom have done for us, their 3 girls and 8 grandchildren. Oh yeah, and their three son-in-laws.

24” x 32” in. framed, photography, 2010. Not for sale.

32” x 24” in. framed, photography, 2010. Not for sale.

24” x 32” in. framed, photography, 2010. Not for sale.

24” x 32” in. framed, photography, 2010. Not for sale.

28” x 38” in. framed, photography, 2010. Not for sale.

24” x 32” in. framed, photography, 2010. Not for sale.

Acrylic on archival pigment print with 24k and 12k gold leaf, 40 x 58 in. framed. Prices available upon request.

Photography, Photo-Manipulation, Digital Collage, 28” x 32” in. framed. Prices available upon request.

Photography, Photo-Manipulation, Montage, 28” x 38” in. framed. Prices available upon request.

Photography, Photo-Manipulation, 25” x 29” in. framed. Prices available upon request.

Photography, Photo-Manipulation, Montage, 25” x 29” in. framed. Prices available upon request.

Photography, photo-manipulation, montage, digital illustration, 22 x 26 in. framed. Prices available upon request.

Photography, photo-manipulation, montage, superimposition, 28 x 32 in. framed. Prices available upon request.

Photography, photo-manipulation, 42 x 49 in. framed. Prices available upon request.

Photography, photo-manipulation, 41” x 48” in. framed. Prices available upon request.

Photography, photo-manipulation, 42 x 49 in. framed. Prices available upon request.

Photography, photo-manipulation, montage, digital illustration, 41 x 48 in. framed. Prices available upon request.

Photography, photo-manipulation, montage, digital illustration, 41 x 48 in. framed. Prices available upon request.

Photography, photo-manipulation, superimposition, digital collage, 21 x 25 in. framed. Prices available upon request.

Photography, photo-manipulation, superimposition, 23 x 27 in. framed. Prices available upon request.

44” x 36” in. framed, photography, photo-manipulation, digital collage, 24k gold leaf. Not for sale.

56” x 46” in. framed, photography, photo-manipulation, digital collage, 24k gold leaf. Not for sale.

55” x 40” in. framed, photography, photo-manipulation, digital collage, 24k gold leaf. Not for sale.

37” x 45” in. framed, photography, photo-manipulation, digital collage, 24k gold leaf. Not for sale.

ARTidotes

The pieces in this series represent the relationship between healing and movement. Each figure is dancing and moving. They can be dancing together or dancing alone. In my culture, dance is a very spiritual activity. It is used to bring healing, to bring spirits in multiple styles of praise and worship, and to tell stories. Each of these figures is coming into their own understanding of what it means to move and grow.

The pieces in this series represent the relationship between healing and movement. Each figure is dancing and moving. They can be dancing together or dancing alone. In my culture, dance is a very spiritual activity. It is used to bring healing, to bring spirits in multiple styles of praise and worship, and to tell stories. Each of these figures is coming into their own understanding of what it means to move and grow.

Las Princesas

Stop by to make your own ARTidote BALLOON! BY APPOINTMENT!

Synergy seemed to be the biggest reflection for me during this residency. As I came into the space looking to ground down into my work, I sat in the middle of Carolina's installation which was still performing in many ways on its own. Sitting in the midst of it felt like I was taking part in her performance, included in the conversation. From there I also realized how much stylistic synergy there was to one of my ongoing series that examines drapery & ongoing existence/essence in art materials.

As I unpacked my materials and hung previous sketches on the walls, I kept returning to that seat in the middle of her performance. From there I began to photograph my new creations/space/essence from the perspective of her creations/space/essence. My work in the background, hers in the foreground. When I shared a snippet of that on Instagram, I literally wrote "weaving" as caption context. Then, I went to sit down to paint more and as I sat down, I saw a spider cruising across my sketchpad.

The artist residency experience at its core is a gift of space + energy :: the chance to leave one’s comfort zone, to insert dialogues & perspectives not fore frontal to flow, and to document incubation. Capturing the seeding process. And in that, synergy and serendipity are the essential ingredients.

When I was approached about taking part of this project, I was excited and apprehensive at the same time. I rarely do site-specific work as I usually work in isolation. However, a number of concepts merged together to give me the inspiration for my project. My final installation is composed of masking tape strips, each one a face lifted off newspaper on a single strip of tape. I’m playing off the “mask” in “masking tape” and how we all wear more than one kind of mask – a physical one to protect us from a pandemic and another kind of mask to protect our mental selves. My piece reflects those we choose to bring into our lives, those we choose to believe in and follow, and all the good and bad experiences they bring with them. Each strip is tabbed and visitors to the gallery may pick one strip a single strip home with them. They will then be responsible for their relationship with it as leave the gallery – its safety, its transport, and its ultimate home. They decide where to place it, how they interact with it, and determine its meaning.

When I was approached about taking part of this project, I was excited and apprehensive at the same time. I rarely do site-specific work as I usually work in isolation. However, a number of concepts merged together to give me the inspiration for my project. My final installation is composed of masking tape strips, each one a face lifted off newspaper on a single strip of tape. I’m playing off the “mask” in “masking tape” and how we all wear more than one kind of mask – a physical one to protect us from a pandemic and another kind of mask to protect our mental selves. My piece reflects those we choose to bring into our lives, those we choose to believe in and follow, and all the good and bad experiences they bring with them. Each strip is tabbed and visitors to the gallery may pick one strip a single strip home with them. They will then be responsible for their relationship with it as leave the gallery – its safety, its transport, and its ultimate home. They decide where to place it, how they interact with it, and determine its meaning.

When I was approached about taking part of this project, I was excited and apprehensive at the same time. I rarely do site-specific work as I usually work in isolation. However, a number of concepts merged together to give me the inspiration for my project. My final installation is composed of masking tape strips, each one a face lifted off newspaper on a single strip of tape. I’m playing off the “mask” in “masking tape” and how we all wear more than one kind of mask – a physical one to protect us from a pandemic and another kind of mask to protect our mental selves. My piece reflects those we choose to bring into our lives, those we choose to believe in and follow, and all the good and bad experiences they bring with them. Each strip is tabbed and visitors to the gallery may pick one strip a single strip home with them. They will then be responsible for their relationship with it as leave the gallery – its safety, its transport, and its ultimate home. They decide where to place it, how they interact with it, and determine its meaning.

The pieces in this series represent the relationship between healing and movement. Each figure is dancing and moving. They can be dancing together or dancing alone. In my culture, dance is a very spiritual activity. It is used to bring healing, to bring spirits in multiple styles of praise and worship, and to tell stories. Each of these figures is coming into their own understanding of what it means to move and grow.

Synergy seemed to be the biggest reflection for me during this residency. As I came into the space looking to ground down into my work, I sat in the middle of Carolina's installation which was still performing in many ways on its own. Sitting in the midst of it felt like I was taking part in her performance, included in the conversation. From there I also realized how much stylistic synergy there was to one of my ongoing series that examines drapery & ongoing existence/essence in art materials.

As I unpacked my materials and hung previous sketches on the walls, I kept returning to that seat in the middle of her performance. From there I began to photograph my new creations/space/essence from the perspective of her creations/space/essence. My work in the background, hers in the foreground. When I shared a snippet of that on Instagram, I literally wrote "weaving" as caption context. Then, I went to sit down to paint more and as I sat down, I saw a spider cruising across my sketchpad.

The artist residency experience at its core is a gift of space + energy :: the chance to leave one’s comfort zone, to insert dialogues & perspectives not fore frontal to flow, and to document incubation. Capturing the seeding process. And in that, synergy and serendipity are the essential ingredients.

A Snake in the Day and a Fish by Night

This is a performance made for the camera, something I am doing more of as the pandemic has altered the in person performance art experience. It is centered around two sections of Rumi poems, and framed with a numeric system 1-10 (specifically using Farsi numbers). The sections of poem are:

“Your ‘self” is a snake in the day and a fish at night”

“We are poor ants, collecting love”

This video compiles the performances for the camera: movements using the rhythm of counting in sets of 10 in combination with the poems, and my hands sculpting 30 phallic clay pieces. By combining these two very different gestures, and working within the structure of numbers and text, I see room for intimacy and humor around performing these actions for no audience. The works together show accumulation and physical acts of making as a means to no destination, circuitous and reflective.

Making this work in the space of a residency framed by healing was a large part of the resulting work, and something I look forward to exploring more. I am so grateful for the space to explore this project and to lean into making alongside such a wonderful and meaningful group of artists!

A Snake in the Day and a Fish by Night

This is a performance made for the camera, something I am doing more of as the pandemic has altered the in person performance art experience. It is centered around two sections of Rumi poems, and framed with a numeric system 1-10 (specifically using Farsi numbers). The sections of poem are:

“Your ‘self” is a snake in the day and a fish at night”

“We are poor ants, collecting love”

This video compiles the performances for the camera: movements using the rhythm of counting in sets of 10 in combination with the poems, and my hands sculpting 30 phallic clay pieces. By combining these two very different gestures, and working within the structure of numbers and text, I see room for intimacy and humor around performing these actions for no audience. The works together show accumulation and physical acts of making as a means to no destination, circuitous and reflective.

Making this work in the space of a residency framed by healing was a large part of the resulting work, and something I look forward to exploring more. I am so grateful for the space to explore this project and to lean into making alongside such a wonderful and meaningful group of artists!

A Snake in the Day and a Fish by Night

This is a performance made for the camera, something I am doing more of as the pandemic has altered the in person performance art experience. It is centered around two sections of Rumi poems, and framed with a numeric system 1-10 (specifically using Farsi numbers). The sections of poem are:

“Your ‘self” is a snake in the day and a fish at night”

“We are poor ants, collecting love”

This video compiles the performances for the camera: movements using the rhythm of counting in sets of 10 in combination with the poems, and my hands sculpting 30 phallic clay pieces. By combining these two very different gestures, and working within the structure of numbers and text, I see room for intimacy and humor around performing these actions for no audience. The works together show accumulation and physical acts of making as a means to no destination, circuitous and reflective.

Making this work in the space of a residency framed by healing was a large part of the resulting work, and something I look forward to exploring more. I am so grateful for the space to explore this project and to lean into making alongside such a wonderful and meaningful group of artists!

Champ It

The car used in this interactive performance art has been in my husband’s life since he was a kid. The manufacture name for the car is CHAMP, a 1982 Plymouth, manufactured by Mitsubishi. This car has been in my family since 2011, when my husband’s parents gave it to him when we moved to Virginia. The endurance of this car, it’s simplicity, and it’s name is the perfect piece of art to go along with a performance that is about courage, survival and perseverance.

During my #ARTidotes residency at the Joan Hisaoka Healing Arts Center Gallery, I will be creating a special mural to represent our different levels of discomfort. Abstract drawing shapes will hang in front this mural.

The shapes are a representation of different phobias, fears, anxieties, and anything else that takes a person to a painful place. During the performance, my husband @sciencethecat will shout out live requests from YOU as I manually move the shapes from the mural to attach them to the CHAMP, which will be located outside of the Gallery. Metaphorically, I will be removing negative energy and transforming it into an art composition on the surface of the CHAMP. In the live feed of the gallery performance, the audience will be able to request which shape to move outside and be a part of CHAMP art.

Champ It

The car used in this interactive performance art has been in my husband’s life since he was a kid. The manufacture name for the car is CHAMP, a 1982 Plymouth, manufactured by Mitsubishi. This car has been in my family since 2011, when my husband’s parents gave it to him when we moved to Virginia. The endurance of this car, it’s simplicity, and it’s name is the perfect piece of art to go along with a performance that is about courage, survival and perseverance.

During my ARTidotes residency at the Joan Hisaoka Healing Arts Center Gallery, I will be creating a special mural to represent our different levels of discomfort. Abstract drawing shapes will hang in front this mural.

The shapes are a representation of different phobias, fears, anxieties, and anything else that takes a person to a painful place. During the performance, my husband @sciencethecat will shout out live requests from YOU as I manually move the shapes from the mural to attach them to the CHAMP, which will be located outside of the Gallery. Metaphorically, I will be removing negative energy and transforming it into an art composition on the surface of the CHAMP. In the live feed of the gallery performance, the audience will be able to request which shape to move outside and be a part of CHAMP art.

Champ It

The car used in this interactive performance art has been in my husband’s life since he was a kid. The manufacture name for the car is CHAMP, a 1982 Plymouth, manufactured by Mitsubishi. This car has been in my family since 2011, when my husband’s parents gave it to him when we moved to Virginia. The endurance of this car, it’s simplicity, and it’s name is the perfect piece of art to go along with a performance that is about courage, survival and perseverance.

During my ARTidotes residency at the Joan Hisaoka Healing Arts Center Gallery, I will be creating a special mural to represent our different levels of discomfort. Abstract drawing shapes will hang in front this mural.

The shapes are a representation of different phobias, fears, anxieties, and anything else that takes a person to a painful place. During the performance, my husband @sciencethecat will shout out live requests from YOU as I manually move the shapes from the mural to attach them to the CHAMP, which will be located outside of the Gallery. Metaphorically, I will be removing negative energy and transforming it into an art composition on the surface of the CHAMP. In the live feed of the gallery performance, the audience will be able to request which shape to move outside and be a part of CHAMP art.

Champ It

The car used in this interactive performance art has been in my husband’s life since he was a kid. The manufacture name for the car is CHAMP, a 1982 Plymouth, manufactured by Mitsubishi. This car has been in my family since 2011, when my husband’s parents gave it to him when we moved to Virginia. The endurance of this car, it’s simplicity, and it’s name is the perfect piece of art to go along with a performance that is about courage, survival and perseverance.

During my ARTidotes residency at the Joan Hisaoka Healing Arts Center Gallery, I will be creating a special mural to represent our different levels of discomfort. Abstract drawing shapes will hang in front this mural.

The shapes are a representation of different phobias, fears, anxieties, and anything else that takes a person to a painful place. During the performance, my husband @sciencethecat will shout out live requests from YOU as I manually move the shapes from the mural to attach them to the CHAMP, which will be located outside of the Gallery. Metaphorically, I will be removing negative energy and transforming it into an art composition on the surface of the CHAMP. In the live feed of the gallery performance, the audience will be able to request which shape to move outside and be a part of CHAMP art.

Sunflowers After Van Gogh No.4. Acrylic and camouflage strap on stretched camouflage fabric 42” x 16” 2018.

From the series A City of Magic Carpets, an exhibition exploring an imaginative place between interior and exterior landscapes through the language of painting, textiles, and tactile materials. Motifs of nature, fashion, and objects found within interior spaces are references used to reinvent ways of seeing material and the weight it carries. A City of Magic Carpets explores the nuances of materiality through its relation with the human body and its figurative connection with surrounding landscapes.

Drawing inspiration from the audio poem, The Bristol Project by Vito Acconci, this work examines a parallel connection of imagery and non-fictional worlds intersecting one another into abstractions and visual metaphors. The line, “Now it's the land itself here who is a body, a body of land, it's the water itself that's a body of water,” expresses the notion of imagery we understand outside of its common context. Like Acconci’s word play, the textile paintings found in this work are constantly reinterpreted and reimagined outside of it’s ordinary function.

Through the use of camouflage textiles, floral embroidery imagery and thermal mylar blankets, A City of Magic Carpets opens a metaphysical dialogue to dissolve and reexamine our understanding of landscape. The way the material transcends past it’s psychological associations, gives new perspective on how one can interpret the concept of landscape outside of the common human experience.

You Can’t be Hungry in the Land of the Free. Mixed media Installation with false marble column, and aluminum trays with remains of Latin food, (Salvadorian pupusas, Peruvian chicken, Mexican tacos, Guatemalan tamales), 2018.

Looking at architecture as a symbol of human desires, as well as a physical representation of structures of power, dominance, and control, I work with discarded materials mostly from domestic construction sites, and seek out pre-transmitted messages that I utilize in abstract imagery.

I like to refer to my practice as an intervention in or disruption of the process of labor and use of materials. My intention is to create an aesthetic that appropriates and rearranges everyday micro gestures to create a connection with the history of places, the labor force intrinsic in those processes (mostly comprised by minorities), and how that hidden but vital energy reacts as part of the DNA of places and social structures.

On Acceptance: In order to be able to grow as a society, as a species, we need to accept the implications our acts contain. We need to accept our interconnectedness and the necessity to accept one another, that no human is illegal, that there is not a legal o racial superiority but a need to work together to set new rules in accordance with creating a better world.

Objetos Cotidianos/Everyday Objects Series. Brushpen markers (ink & watercolor) on acid free paper.

Everyday Objects is a series of watercolor and ink drawings, that started over 5 years ago, with an idea of simple traces done with a marker on the paper (no pencil or eraser) of the things, objects and spaces that surround me. The project has become a journal of trips, intimate spaces and places I visit, and the the people that host me, as well as the places I have lived and my possessions.

Light Switch (entrance), 2018

Hospital Bed (mom), 2017

Clothes Line, 2017

Altata Living Room, 2017

Objetos Cotidianos/Everyday Objects Series. Brushpen markers (ink & watercolor) on acid free paper.

Bathroom (Baño de las mujeres), 2018

Orange Living Room, 2018

Pánuco, 2018

Altata, Mosaic Table, 2017

Objetos Cotidianos/Everyday Objects Series. Brushpen markers (ink & watercolor) on acid free paper.

Taqueria (Guacamaya), 2017

Robot & Napkin, 2018

Waiting Room, 2018

Kidney Problem, 2017

White Constructions, 2016-Present

This project considers the arbitrary and deliberate construction of race in the United States and its negative effects on black and brown people. The series analyzes race as a deliberate social construct created by those in power to subjugate non-white people while critiquing the influential construction and deconstruction of language and its impact on human experiences. The symbolic and imaginary constructs in WHITE CONSTRUCTIONS challenges the viewer to reconsider and reconstruct their personal and political relationship to race and how it informs their interactions with others.

Beautiful Facade. Video-tableux with 6 video screens, shims, house paint and recycled cardboard, 2020.

My work addresses issues of social and political content. Comments on migration, war, identity, translate into video, performance art, site-specific installations, and two-dimensional media in the form of painting, photography and drawing.

The works presented at ACEPTAR are part of the series PINK Ranchos and other Ephemeral Zip Codes which responds to my obsession with PINK, a beautifying agent that applied to skin, objects, creatures, provides acceptance and emotional gratification.

In Beautiful Façade, a video-tableaux specifically created for this exhibition, I apply the pigment to women and children (those typically associated with home) to create a pleasing environment of contrasting experiences of those living inside ranchos, chozas, and other improvised dwellings dictated by privation and abandonment.

Barquitos from the Archive is inspired by the hundreds of paper boats that individuals have contributed to the Barquitos de Papel collective archive and video installation since it premiered at the Cultural Center of Spain in San Salvador in 2006, as part of my Fulbright Scholar project, Backdrop: The Search for Home / Terruño: Detrás del telón.

Each barquito is an individual portrait, and as little vessels, carry the power of our individual and collective testimony. From San Salvador to Buenos Aires to Newark to Dallas, to Brussels and to Washington, D.C., we’re encouraged to remember, to come together to (re)discover our own story, using copies of our family documents and photographs. The tactile process of making paper boats engenders connection, even healing. Through the act of participating, we claim our individual story in the communal space. In photographing these barquitos, I realize that the details hidden behind the folds resonate as much as those readily seen.

These photos of paper boats stand on their own as documents of our diverse journeys. They highlight our individuality while gesturing that together, we may find our belonging.

Unmasked. Cast iron and rolling pins.

Childhood memories are the roadmap of my artistic research. Some of my early memories take me back to a creative space where I began training my observation and appreciation for form, time and space. I give credit to my mother who guided me through understanding empirical concepts of fashion design, architecture, drawing, painting and earthworks. Principles of nature were taught by my father whose way of life was rooted in our ancestral Mayan traditions and culture. This combined gift became the engine that forged the sensors that allow me to absorb and process visual information wherever my mind is placed. To be able to endure the life of an immigrant one must hold on to their memories. My body immigrated to the United States, but my mind was still in Honduras. It has been this duality and tension that informed my art concepts as I go through with my life inquiry. Documenting trajectory is part of my process of gathering and storing information that later becomes part of the ingredients to be mixed with physical materials shaped by genuine labor and instinctual thoughts. Migration narratives have been a recurrent subject in the work I produce. It is a response to human struggle, migrant labor, displacement, labels, assimilation and the interconnectedness of political and socioeconomic factors. I use Mayan mythology and symbolism to inject mystery and spiritual power as a reminder of one of the earliest world migrations. When historians describe the history of the people of the Mesoamerica region, they are usually referred to as ancient or no longer in existence, when in fact still there. Cultural tradition, languages, art, architecture, cuisine are still heavily influenced by the memories of that history and practice. Presently, my studio practice is steeped in memories collected throughout the journey I took 30 years ago —they are the catalyst of how I have been able to process my cross-cultural experiences through my art.

Orange Cage-Immigrant Loops, 2018. White steel cage, orange iridescent ribbon, double-sided adhesive tape, mirror, wood rods, vinyl letters, and LED lights.

As an artist my work picks up what human progress sheds. I create objects that respond to systems that want to keep us under control or within certain limits. My work lives between my intuitive home of Mexico and my rational home of the United States.

Mixed media video-sculpture, watercolor and ink on paper, 2018.

Rolodex, 2016. Steel rolodex case, black paint, yellow and transparent card protectors, transfer tracing paper, and A-Z plastic dividers, exercise wheel, audio cassette tape, and notebook with list of words.

Rolodex takes an object that is synonymous to the sum of a person’s accumulated contacts, but instead of people’s names I explore all the words that we as a culture, associate with the word “power” and “hope”. All the words are typed in braille to highlight how these two words function as invisible forces in our lives. This obsolete object functions as a vault that holds the gravitational forces that push and pull are daily actions.

Bald Eagles, 2017. Wooden frames, beveled glass, cast soap, soap paint and glass adhesive.

11x14in framed — $2,500.00

Hand embroidery, beadwork and acrylic paint on linen

I have been using hand embroidery and hand stitched beadwork combined with acrylic paint as a medium for Art making for twenty some years. The act of hand stitching thread and beads is a slow and repetitive process that affords the space for uninterrupted thought. The act of painting is spontaneous, in the moment, physical movement. Combining these two opposite states gives form to endless exploration in to the mystery of being. I work intuitively, mining personal experiences, energy, movement, nature and the occasional external interruptions of politics. I use this medium of minutiae as a practice for connecting with the vastness.

11x14in framed — $2,500.00

Hand embroidery, beadwork and acrylic paint on linen

I have been using hand embroidery and hand stitched beadwork combined with acrylic paint as a medium for Art making for twenty some years. The act of hand stitching thread and beads is a slow and repetitive process that affords the space for uninterrupted thought. The act of painting is spontaneous, in the moment, physical movement. Combining these two opposite states gives form to endless exploration in to the mystery of being. I work intuitively, mining personal experiences, energy, movement, nature and the occasional external interruptions of politics. I use this medium of minutiae as a practice for connecting with the vastness.

11x14in framed — $2,500.00

Hand embroidery, beadwork and acrylic paint on linen

I have been using hand embroidery and hand stitched beadwork combined with acrylic paint as a medium for Art making for twenty some years. The act of hand stitching thread and beads is a slow and repetitive process that affords the space for uninterrupted thought. The act of painting is spontaneous, in the moment, physical movement. Combining these two opposite states gives form to endless exploration in to the mystery of being. I work intuitively, mining personal experiences, energy, movement, nature and the occasional external interruptions of politics. I use this medium of minutiae as a practice for connecting with the vastness.

46x32x1.5” — Not for sale

Archival Pigment Print

12” diameter bowl, 44x15in — Not for sale

Raw clay on stand

8x8in — Not for sale

Artist book: Letterpress and woodcuts, poem by Buck Downs

44 x 30in — $5,000 framed

Pulp Painting

70 in x 88 in - $47,000.00

Mixed media

84x48in —

Ink on antique book pages

20x25in — Not for sale

Mother’s hair from gestation

54x45x4in — $9,000.00

Handweaving, warp and weft ikat resist dyeing, cotton. Textile is mounted on a handcrafted wooden frame.

31x32x3in — $4,800.00

Lead, wax, wash, paper and ink

103x15x3in — $4,000.00

Lead, horsehair, steel bolts

Flax, abaca, wire

24x30in — $2500

Mary Kate Bailey is a Washington, D.C. based artist working primarily in oil paint. Her work explores themes such as femininity, kinship, and death through unexpectedly colorful paintings. Each painting contains layers of imagery that are individually pleasant but collaged together to create a darker narrative.

22x28in — $1500

31x22in — $800

Loring Davena Boglioli is a fiber artist. Working solely from repurposed clothing, felts and various found objects, Loring fuses venerated sewing practices, two common embroidery stitches and innovative design to express various themes, styles and imagery in her appliqued hangings. Inspiration, material and method merge and epitomize the found-object tradition, meeting criteria for “sustainability.” Blended woolens and synthetic felts in her works are manufactured from 80% to 100% post-consumer goods. Hand cut and stitched textiles result in completely original unique designs detailed with assorted found objects, which further amplify the visual freshness, enthusiasm, intensity and sophisticated naïveté trademark in her work.

Inspired by clothing labels dissembled from recycled coats and a gift of clothing labels from her sister, in her current series, “Fear, Fashion and Acceptance”, she explores the oppressive media branding and social and economic manipulation of women to conform to the latest fashion trends, regardless of body type, economy or personal needs. The materials and techniques in the series express her ongoing body image challenges, poverty and social rejection within her abusive childhood.

26x32in — $850

26x32in — $850

Traveling through a maze of sky and earth. I am intact even as my body and soul scatter, ailing and healing once again.

Like a dance, like a joke, like tinkling laughter. Sparkling star breasts, fireworks, dancing in the universe, blessings. Beauty—a durable celebration.

16x22in — $260

Margery Gordon is an artist who uses various mediums - painting, drawing, making collages, and doing photography. Recently she completed a series of artworks of waterlilies, and a series where she puts the human figure looking out towards the future in various settings. These places were all crucial to her healing. She survived a bout with cancer and other physical problems that led her to create the artworks. She is focused both on her hand used to make these artworks and on placing strong figures that celebrate their bodies in various settings. She wants to place viewers into the artwork and have a feeling of timelessness.

12x12x2in — $480

12x12x2in — $480

12x12x2in — $480

12x12x2in — $480

Deborah’s current body of work, A Clear Unspoken Magic, is inspired by the history of the use of cultural, spiritual, and religious artifacts to avert evil and insure health and well being for those who believe in their power. Like the artifacts and stories behind them that inspire her work, the figures in this series are created to embody and imbue a sense of magic, protection, hope, and healing. The vessel-like shapes that she constructs symbolize home and spirit, and serve as a literal and figurative place for the viewer to house memorabilia, dreams or to add additional artifacts for healing and protection within the shadowbox. Comprised of clay that she uses to sculpt faces and embellishments, fibers, and materials that are painted, wired, fused or stitched together, she presents several pieces from her series as an offering to the viewer for their peace, their healing, and their protection during these tumultuous times.

40x30in — $3500

Certainty: A painting about body image confidence and the connection to water as a primal source for healing.

40x30in — $3500

Small Steps in the Right Direction: Moving into the unknown, walking through unexpected terrain while trusting our instincts.

Elyse’s current paintings feature imaginary figures captured in moments of real-life challenges - challenges such as transcending loneliness, processing grief, mustering confidence or fueling ambition. Their bodies and faces are composed using exaggerated proportions, unconventional palettes and impossible postures, intentionally applied to further define their situations. But just as pertinent, is the focused, self-determination evident in their body language as they attempt to confront and resolve their struggles. The physical attributes of the paintings themselves, patiently rendered in precise compositions, serve as a metaphor for the steadiness and clarity we seek to achieve more autonomy, authenticity, self-love and courage.

44in — $6000

Scott’s paintings and drawings are comprised of overlapping figures stitched together in one composition. They are multifaceted, abstracted, and meant to evoke the idea that our identity is in flux. Though we are singular beings, our psyche is not. We are molded in part by time and our life experiences.

The subjects in his paintings personify the strength and frailty of consciousness and the depths to which we experience the human condition. The figures are displaced, out of sync and stitched together from a multitude of people, like ghosts or layered memories, both timeless and self-aware.

All of his work can be seen as a journal entry, the manifestation of a deep concern for place and purpose in this world. He reassigns faces and body parts through a mixture of trial and error, coupled with random chance and the need to create something from nothing. During this process, he is fully aware that he is seeking answers to a larger question: Are we in control of what defines us as individuals, or are we a product of our culture and our experiences? His art is meant to tug at the viewer and suggest that there is more to the material world. Each piece is intentionally shrouded in mystery, letting the viewer interpret its multitude of meanings.

11x8.5in — $80

11x8.5in — $80

Maia has been drawing since she could get a pencil into her grubby little hands. While her 5-year-old drawings predominantly featured withered female figures with claws, her current work continues to focus on the uncomfortable nature of existing within a body. She finds it relieving to create a painting that is simultaneously pleasing yet upsetting. She was trained as a biological illustrator; whose job is to convey scientific information about an object. When starting a piece, she uses the same disciplined techniques that biological illustration entails. However, as she continues to paint, her formal method unravels. This realistic framework can provide an ease to slip into viewing the work that is then infiltrated by a feeling of uneasiness at realistically “incorrect” angles, colors, or textures that our eyes instinctively recognize as unnatural. Yet, this is what she evokes to communicate the experience of existing inside a body which is continually under outside scrutiny. This method results in faces fragmented by color, exaggerated shadows, and twisted bodies that convey her honest account of compulsively creating art whose appearance quickly slips from her control to emotional instinct. She finds that the mediums of watercolor, acrylic, and ink best aid this process and final outcome due to their precise yet chaotic properties. For her, painting is a solitary and exhausting ritual which is neither a choice or comfortable, and rarely completed.

16x20in — $350

Reflected in her multi-dimensional works, Lex’s diverse portfolio mirrors her journey as a woman, mother and millennial. She is inspired by her daily life and the life of her peers and generation. Lex works with oil and acrylic on canvas and uses multiple painting techniques ranging from realism to abstract in just one piece. This draws viewers in making them question the connection of the many aspects of the painting.

24x24in — $750

Born in Washington, D.C. and raised in Bowie, MD, Sasha-Loriene captures her thoughts, feelings, and interpretation of the world in every piece. The goal of her art is to tell a story and create a personal experience that encourages others to not only reach deeper within each piece, but within themselves, as well. As such, her passion and raw talent have ignited her lifelong mission of encouraging creativity, thought, and expression in the community - participating in several events in Washington, D.C., Maryland, Virginia, New York, California, and Florida.

Currently, Sasha-Loriene’s art focuses on uplifting women. As she digs deeper into finding her place as a woman in the arts and defining what femininity means to her, Sasha-Loriene uses her work to challenge the status quo. She incorporates bold colors, an array of lines and shapes, and delicate subject matter to redefine how women are viewed and revered in society. With growing support and drive for success, Sasha-Loriene continues to flourish as an eccentric artist and inspiration for others interested in influencing the culture of art.

16x22in

16x22in — $400

Mayah Lovell is a black lesbian latinx from suburban-area D.C. Her work is grounded in transcendental trauma beside black queer ancestors and awakened by her practice of dream recall, radical love, and ritualism. The multi-dimensional planes of this work, in addition to intersecting abstract and realism techniques reveals the fluidity, power, and vulnerability of lesbianism.

Her artistry incorporates a conglomerate of mediums which are synthesized by cultivating essence through mixed materials. By portraying transparency and intimacy of bodymind exchange, complacency in overt sexualism, and exploitation of digital “selfies” to reclassify self-portraiture, Mayah illustrates the psyche of neo-erotica to combat spiritual warfare against racial, sexual, and physical dysphoria.

18x24in — $800

18x24in — $800

18x24in — $800

In a world where media as a whole plays a huge part in how people move in their everyday lives. It is the job of genuine artists to create a more realistic picture of what life is outside of the screens we hold in our hands throughout the day. When it comes to women, we are constantly judged on different mediums about how we look, act, take care of our children and much more.

In this particular work, the goal was to display a woman in her element being free. We went against not only social media standards, but society standards. Women are expected to be fully covered and reserved in order to be respected, when, in fact women should be respected in all walks of life. Shae’s purpose as an artist here is to make things perceived as provocative, normal again. A woman should be able to look at her surroundings and feel like she has backing and not like she is backed into a wall. If the world doesn’t have her back, Shae does.

13x19in — $200

19x13in — $200

Scott Mullins is a New Jersey based queer biracial photographer, focused in exploring lived experience and identity through portraiture. He investigates human connection to both self and others through his work. He explores topics of intimacy, self realization, the dichotomy of internal identification versus outside perception, and personhood. These pieces present and uncover the physical body while maintaining ambiguity of the subject, highlighting the barriers of the physical state in the definition of personhood.

36x48in — $1100

This is a vibrant acrylic painting that captures the beauty of life forms in an erotic, intense, seductive, yet intimate fashion. It is monochromatic, multicolored or a merger between the two hues. It is a 2-dimensional canvas expanded into a 3-dimensional, transformative environment. It is the ethos of past generations or the essence of contemporary society. It is a tangible masterpiece that breaks the interpretation of what society considers “traditional art”. It is Colorful, Collaborative, Cultural and Classic.

12x9in — $375

12x9in — $375

12x9in — $375

12x9in — $375

The Altered States series was born out of the necessity for time away from the world, alone time in order to protect and rearm oneself against the traumas of the day.

Alexandra’s figures find themselves in conversation with their subconscious selves, free from the weight of being in an often-uncooperative body. They are set adrift in dreams and fathom something other. They find themselves weightless rising through the air, or falling after having let go of something which might have been holding them captive. Her spirit carries my body – her will governing the flesh.

24x48in — $4200

24x48in — $4200

There is cohesion in the collision of abstracted hue. Focusing on the intimacy of human relationship, emotion, and self-preservation, Yemonja creates and communicates by joining the hands of color in various mediums. Through deconstructed and re-assembled cut materials, paint, and sometimes just ink, she investigates restoration with precision. The chemistry of colors combined are held together, even in fracture, everything remains whole.

Through use of paint, collage, paper-cuts and other media, she seeks to build through focused deconstruction, and examine the process of holding even brokenness of spirit tenderly though reassembly. Her preparation as an art therapy intern has been informed by experiences working with caregivers, staff, therapists, and the youth and older adults they support who have experienced trauma. Emphasis on self-care remains central to her practice and in the pieces she creates.

$1400

Uzuri roughly translates to beauty in Swahili. With this piece Jasmine highlights the beauty and intricacies of braided hairstyles in the black community. Hairstyles that are iconic to parts of Ethiopia, Namibia, South Africa, and the U.S. as well as master braiders like Shani Crowe and Stasha Harris influenced the braid patterns displayed on this dress. The creation process felt like a day at the hair salon. Each synthetic braid was prepped, braided, pinned , then hand sewn. It took a total of 96 hours to put the entire look together.

8x10in — $95

Dying to Be Beautiful utilizes ammunition and spent casings to illustrate the dangers of American beauty products. These cosmetics contain hazardous toxins and carcinogenic compounds that are perfectly legal for sale here, yet have been banned overseas.

The European Union has banned close to 2,000 chemicals and additives from use in cosmetics and personal care products. In contrast, the FDA still permits the usage of these. The E.U. itemization is provided and it is 58 pages in length.

Viewing art is an act of intimacy. You give Debra a gift by allowing her into your safe space, and trust her to show you things that excite, compel or challenge you. This is a privilege and Debra does not take for granted. She hopes to give you something that resonates with your soul and wants to forge a bond between you and her that endures long after you have left the canvas.

50x38in — $7000

41x38in — $3500

Zsudayka Nzinga Terrell is a fine artist and mixed media designer from Denver, CO. She started out as an oil portrait painter doing photo realism and expressionist portraits before moving into abstract portraits in acrylic and collage work with paper and fabric. Her work is largely composed of messages regarding the experience of the Black woman in America. Her aim is to create pieces that are definitive around the culture of Black America as a tribe of new American African people whose existence began during the transatlantic slave trade.

Terrell uses stitch patterns from traditional Black American quilt work and stained-glass cubism to create the angles for her abstract portraits. Each line and texture is a part of the story being told in the paintings. They are a blueprint for culture speaking to how enslaved Blacks would use designs on quilts or in their hair to pass messages. Her work further explores ideals of dandyism and how Black Americans use fashion to signal their freedom and success. Motherhood and sisterhood in the Black community are central themes to the work.

Zsudayka is very interested in creating specialized skin tones and hair textures for each of her subjects. She enjoys putting Black women of varying shades and tones beside each other, overlapping and demonstrating the multitude of black skin, styles, hair textures, and types of woman in the community. All of her subjects have natural hair and their hair is designed to give an electric impression, capturing the energy and importance of the black woman’s hair.

Zsudayka Nzinga’s work contains a lot of patterns and symbolism. The patterns are inspired by textile fabrics, Ankara and other culture fabric patterns. There are often reoccurring images such as piano keys and butterflies. She copies collage styles in the angles she creates in her portraiture to create overlapping figures, sharply shaped. Each piece mimics a textile creation as an ode to the fabric of the Black American African. They are meant to be representative cultural images exclusive to the experience of those who are descendants of enslaved people. Her pieces are what she considers afrofuturist in that they demonstrate the progression and complication of the Black identity as it evolves.

16x20in — $600

12x16in — $500

20x15in — $600

12x16in — $400

28x16in — $900

24x18in — $1000

16x24in — $900

18x24in — $1000

38x21in — $1600

18x29in — $1000

24x18in — $1000

16x28in — $900

24x18in — $600

16x24in — $800

24x26in — $800

16x24in — $800

24x18in — $1000

24x18in — $1000

18x24in — $1000

12x14in — $200

24x16in — $800

16x24in — $800

24x18in — $1000

14x9in — $200

18x24 — $1000

$1000

$500

$800

$300

$800

$300

SOLD

$1000

$300

$300