Bird and Lava

Wexner Center for the Arts


Ne Me Quitte Pas

Hyper Shape Studies 2020  (Drawing for Sculpture)

Note: I’ll be using hyper shapes as a basic starting point for this body of work and experimenting with new material. ◾️ Hypershape started as a research topic and response to the spatial tragedies of enslaved people who hid or stowed away in architectural spaces to attain their freedom, especially Anthony Burns (hull=curve), Henry “Box” Brown (box=square) and Harriet Jacobs (garret=triangle).  -_curvilinear shape and rectilinear shapes_ -  Each human here manipulated and moved through infrastructures of state-sanctioned domination by converting enslavement into a system of self-imposed displacement, structural confinement, and clandestine geographic movement.  I’ve culled a geometric shape language from histories of black liberation strategies to develop a system/structure/scaffolding of expression for myself.

New World Water

If blackness is already an architectonic developed out of liquidity (ocean), can the work embody this phenomenon and offer sensation (sensoria) at the register of liberation? This is a moment to revisit hauntological questions in Derrida, Morrison and Brand’s work, in relation to what we now understand about climate changes and its causes. Those who create the least are affected by death the most. Still a colonial logic, present, ongoing and constantly defied.  Can these objects “give form to those specters of existence that resist the traditional ontological boundaries of being and non-being, alive and dead.” -Elisabeth M. Loevlie  

Plantationocene  (Black Water 1919) 

Acrylic, graphite, string, wood, ink on canvas

98 inch diameter, 2019