These theatrical scenes are inspired by my Filipino ancestry and by The Darangen: the epic poetic narrative of the Maranao people, as well as by the textile traditions of the Southern Philippines. Each of these scenes attempts to capture and articulate the narrative imagery recovered from the psyche: a scene interrupted, a glimpse of some symbolic interior—as it might be staged in a theater.[…]
Artists are in the business of making models: windows into the soul of society that put into context the human condition. It is an aim to coalesce our shared reality through the lens of a single individual, the artist, and their experience, perspective, and opinions.[…]
In this collection, I ask: What can the color blue teach us? What emotional, psychological, and physiological reaction do we have when blue is allowed to speak? Because this type of art is fluid, attention must be paid to the motion of the pieces[…]
The specific paints and color variations I use in my work also impact the work as well as the subjects I present. Colors like red and blue can sometimes be used as references to political parties, or the use of black to emphasize the feeling of emptiness, as well as it being used for more modern line work for the pop feel.[…]
As a Black woman from Mississippi, my cultural roots have imposed a powerful influence on my art process. My work is a conversation between myself and place, using art as a paradoxical intervention to address racial trauma at its core. Integrating the pineapple’s growth and journey as a guiding metaphor […]
Through her artworks, she is able to pass on messages without writing an essay. Her subject matter mostly deals with emotions and self-discovery. She connects with music, books, people, her environment, and situations around her vicinity before creating any art piece.[…]
I’m a political artist by trade. I’m interested in exploring human connections through this thing called politics. They say everything is political; that’s very true, at least for me.[…]
This project aims to portray women as they suffer a crushing defeat in society. Being the core of my focus, woman is described as a bird who is dying. I have applied Forough Farrokhzad’s last poem of her last book of poems—“the bird may die…”—to the photos to address each image more touchingly.[…]
My art naturally is informed by an education in art history and an experience in a gallery that specialized in old master prints and drawings and antiquarian books. Having been drawn initially to the art of woodcut by exposure, through books and museums, to the works of early 20th century masters, I have been a practitioner of the medium of woodcut since I was sixteen years old.[…]
Navigating the world with PTS and depression often renders me paralyzed; stuck in a place between grief and acceptance; speechless. Through art, there is a negotiation in meaning and understanding. Often unspoken.[…]
A literary and art journal
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