Tranquila y paciente por favor!

While pondering the decision I made to participate in the Nicaragua internship, I kept getting the imagery of making a huge leap into the unknown.  The commitment to be out-of-pocket for 3 weeks from my country of origin was daunting and exciting at the same time.  One of the biggest advantages I had was my innate willingness to accept challenges, be flexible, and my love for people!  Other strengths (e.g., past experiences and practices, art therapy toolkit, concepts, theories, etc.) were perhaps floating somewhere in between my conscious and subconscious; although not too deep.  Though it was hard to not rely on what I thought I knew on the first day I quickly became a sponge as I attempted soak up everything around me.

The first few days of our daily walks to and from our host family we were escorted and they were concerned about us walking alone.  I thought, “Hmm, ok we are strangers in a new country and community…I get it.”  What got me was how each day we left for the day (and sometimes for lunch) we all waited together to lock up and walk down the street together.  The Center coordinator would not allow us to just walk off on our own; it didn’t matter that we would split off from each other after 1 or 2 blocks!  I am used to being independent and to be on my own so this was hard.  One time I forgot about this and said to my partner, “C’mon let’s go; why are you waiting?”  She reminded me that we need to wait together for everyone.

When you are used to having to fend for yourself, figure things out on your own without any help you get used to this “being” even if it is away from ones roots.  I am a helper by nature and the “gifts” I have to share with others naturally come out.  Surrendering my desire/need to “do’ was something I had to get used to quickly in order to be culturally sensitive.  I am not used to being waited on, pampered over, or attended to.  I was acutely aware of offending her and her family and so I soon welcomed the wonderful homemade meals that had been toiled over in the unyielding heat; for me.  I still remember the delight on her face when she saw that we were enjoying ourselves and were content.  My ideas about helping and its’ place in this context continued to be challenged during the times we spent together.  Giving into the cultural norms as well as my curiosity and desire to learn from her is what truly allowed me to become present and to remain there.  The concept of fluidity or “rolling with it” is what can naturally occur when the formal aspect of roles are allowed to evaporate.  Tranquila y paciente por favor! (Part 1)


Making tortillas from scratch!


In considering one’s art practice—the time, energy, struggles, and dedication required—the why one does it begs to be answered.  For me this answer developed over a period of time even though my artistic journey began almost immediately after a personal tragedy; the sudden, unexpected death of my stepfather.  It was then that I discovered that creating art was not simply something to do to pass the time while I grieved but the start of a life-changing passion that I would continue to develop and never stop doing for as long as I live.

My life mantra is to “help others for their betterment.”  It is more than a duty or responsibility; it is a spiritual gift.  I believe that in order to help others it is important to have resources at your disposal.  My resources have taken many forms including the sharing of skills, time, experience, myself, and wholehearted belief in the dignity of those who I have had the privilege to help.  For several years art has been one of my major resources I use in helping others.  As I continue to grow in my art practice I realize that the core motivation for what I do goes beyond the fulfillment of my need; it extends from within my desire to genuinely help others for their benefit and empowerment.

In the midst of violent and often issue-laden situations that are less than what one would consider “community” I have chosen to look beyond the ugly and instead focus on the need to remember the importance of upholding family, togetherness, collaboration, and community.  I do not ignore the reality of what is; instead, I am compelled to address the inequities of neglect, child abuse, violence, and poor influences.

GROUP 2 messages FRONT

My life experiences working with people have taught me a lot.  One of my greatest joys in life has been working with physically and mentally challenged individuals.  I currently work with autistic children and am learning firsthand the value I can help instill in these individuals and their development.  This fall I will start my graduate work in Art Therapy.  I look forward to working as an art therapist where it will afford me the opportunity to use my passion to work with adults and children who suffer from PTSD and other related disorders.  I am interested in working with seniors suffering from mental illness; those who often are disregarded and whose symptoms may be taken as normal signs of aging.


Strange and Curious Permeations

“Strange and Curious Permeations”

My upcoming solo exhibition, “Strange and Curious Permeations” asks the viewer to consider how the growing acceptance of violence in our society contributes to the degradation of human dignity.

We continue to be appalled at the numerous acts of violence against black youth that carry no consequence.  A fearful helplessness pervades the thoughts of many who wonder, “What protection is available when those in authority who should be our protectors are free to kill black people at-will?”  What’s worse is the miserable failure of our legal system to bring justice; instead the rampant spread of “Stand Your Ground” and similar laws have served to open the door to legalized violence against those whose only crime is being seen while black.  Parents must now have what I call the “survival talk” with their children educating them on how to survive when confronted and NOT get killed by the police.

The Center of Juvenile and Criminal Justice ( states

“Overall, young African Americans are killed by cops 4.5 times more often than people of other races and ages.”

Works in the exhibition depict images of children at play painted in red, orange, and yellow—colors which society associates with warning.  Symbols, words, and popular icons as seen in the painting, “You Feelin the Rainbow?” depict the challenges our youth encounter when violence pervades every area of their lives.  Permeations are not only physical but social, emotional, and psychological.  Ultimately, the question that must be addressed is “What impact will violent acts against black youth have on their future outlook and how does this shape the way they live in the present?

Death by Skittles-You Feelin the Rainbow?

Death by Skittles-You Feelin the Rainbow?

The exhibition, “Strange and Curious Permeations” will be held at 2622 Gallery located at 2622 N. Wauwatosa Avenue (76th & Center) Wauwatosa, Wisconsin.  The opening reception is Friday, March 6, 2015 from 6 to 9 pm. It will feature poetry and spoken word by Carmen Murguia and Natalie Schmitting.  The exhibition runs through March 31, 2015.

“I am important because __________”

To say that Two Thousand Fourteen came in as a whirlwind would be an understatement! Between school, work, and art I’ve had hardly time to breathe; however, I must admit the constant stimulation helps keep me on my toes. There has been very little time to “veg out” instead I’ve had to take my organizational skills to another level in order to keep everything straight. The reality is that time waits for no one, gets shorter the longer we live, and continues to march on whether we keep in step or not.

It’s hard to believe that over 2 years have passed since Trayvon Martin’s death and that we’re close to the one-year anniversary since the verdict concerning his murder was passed. Some reading this may wonder, “Why keep bringing the case up? Isn’t it time to move on?” The answer to this question begs more questions. Have we learned anything from what happened? Has anything changed—if so for better or worse? What’s happening today to prevent this same tragedy from occurring tomorrow and what can I do about it? These are some of the discussion points I recently posed to ninth graders at Bay View High School while visiting during their spring STEAM (Science, Technology, Engineering, Arts, and Mathematics) Conference. I presented in three sessions with approximately 20 students in each one.

As an artist dealing with events affecting youth I was invited to share with the students my work post Trayvon Martin. As I prepared for the visit I thought about what I would do to be as a jumping off point. Besides paintings, drawings, and collages I had been planning to create an installation or sculpture for some time. So with some assistance from another artist I created a representational plaster cast of Trayvon. Here it is presented it in a class project.



At Bay View I stood him upright on a desk so that this was the first thing the students saw as they entered the room! My second ice breaker was a spoken word piece followed by dialog directed to the students so I could get a chance to know them better. Please complete the statement, “I am important because _________.” I went around the room and asked each person to fill in the blank. Amazingly, some had a hard time answering. Honestly think about it; when is the last time you thought about the importance of your being? For those who answered, “I don’t know” I circled back to them after giving others an opportunity to respond. As the teens became more comfortable they opened up and told what made them important:

“I’m a role model to my younger sisters and brothers”
“I help people”
“if people knew my story they would realize how lucky they are to be here”
“I’m nice to others”
“Because God made me and I’m here”

Since we are important (and everyone is), we have a purpose for being here. We can never forget about Trayvon Martin—his life was important; and his death does matter. Each one should ask: How can I make a difference? What do I have to say? What can I do? The teens in each session shared their concerns, fears, and outlook for the future. Many gave examples and incidents where they have been personally touched and affected—identifying and experiencing “being Trayvon” in their world. At their age they have an opportunity to make a difference—whether they speak about it, write about it, or create art about it. I encouraged them to know that their efforts can spark change. What has history taught us? That he is notorious for repeating himself over and over again until we are determined to act.

Bay View High School Students with Trayvon

Bay View High School Students with Trayvon


Embracing Art’s Healing Power

Life experiences are a mixed bag at best!  As we continue to live each of us will have our share of “life” and there’s no way of getting around it.  I think the reality of having to deal with emotions that arise from these experiences is what is most troubling.

You’ve heard the saying time is a great healer—well the pen and paper, easel, clay, sketchpad, etc., can be too.  This year provided much fodder for creativity as well as any other year that’s come and gone before it.  On both inter- and intrapersonal level I, like you have had my share of the good, the bad, and the ugly.  In addition, the events that have happened around us—the things that come from without and which we have no control over—continue to impact our present and future outlook as we respond to life experiences.  As an optimistic realist I have had both growth and decline in my emotional, social, and spiritual life this year.

Gratefully, we artists have a way to vent and express our joy and sorrows.

One of the ‘without’ experiences that has affected my life forever was the outcome of the Trayvon Martin case.  Looking at it from strictly a human level—

a person’s life was taken

             by another

without vindication…period

From this outcome a sobering reality was once again brought home to bear along with far-reaching historical and present-day ramifications for the Black community.  A deep-seated inconsolable pain emerged which threatened to overtake and turn me toward a dark path.  And since the legal system in our society failed miserably to bring to justice a person responsible for the crime could it be that a person didn’t do it?  If no one did it, then it had to be Skittles.  That’s right Skittles killed Trayvon!  Thus my series “Death by Skittles” was born.

Death by Skittles--confrontation

Death by Skittles–confrontation

Without going through the litany of whys; what could be and what is, I simply know that for me the ability to release my sorrow and pain through the use of media is what is bringing healing from this tragedy.  By God’s grace I’m moving on and in my small way I will continue to address the societal problems and issues; the inequities and poor influences that affect, plague, and short-circuit our children’s paths towards a healthy future.

Death by Skittles--He's Gone

Death by Skittles–He’s Gone

From the time I started, a number of paintings, collages, writings, etc., have emerged.  I have shared a few with you.  And yes, I create art that communicates the good as well as bad.  Today someone needed to know about the ugly.

Death by Skittles-You Feelin the Rainbow?

Death by Skittles-You Feelin the Rainbow?

“The Human Touch” and Willie Birch at Redline Gallery

The “Human Touch” an exhibit focusing on people and diversity recently opened at Redline Gallery in Milwaukee.  The exhibit, which runs from October 18 through December 23, includes over 40 works from a variety of media—ranging from serious to whimsical.  This is definitely my kind of exhibit!  The works exhibited are from the corporate collection of over 400 pieces owned by RBC Wealth Management, one of the nation’s largest full-service securities firm headquartered in Minneapolis.  Redline is definitely privileged to have these works on loan from this 20-year old collection.

As a resource artist at Redline, I was invited to the opening day gallery talk with curator Don McNeill.  Don gave great insight into how the collection begun and has grown over the years.  The exhibition is a traveling one and Don has been curating the show since 2000.  Some of the works included are from artists early in their career before they became well known.  One of the pieces from Kehinde Wiley is of his early work when he used baroque fabric for the background of his urban men—today he paints the backgrounds.  Other artists whose work is included are:  Carrie Mae Weems, Dawoud Bey, Radcliffe Bailey, Roy Lichtenstein, and Claudette Schreuders.

As part of the opening week Redline invited Willie Birch, New Orleans-based artist.  I believe this was Willie’s first time being in Milwaukee as he commented on the coolness of the weather more than once!  I first encountered Willie’s work in person when it was displayed at the Haggerty Museum of Art at Marquette University.  The exhibit was borne to commemorate the 150th anniversary of the signing of the Emancipation Proclamation.  Willie’s work was very striking and I will never forget the huge canvasses in black and white using primarily acrylic and charcoal.  His matter-of-fact themes are based on the everyday lives of people Willie knows personally, has met on occasion, or happened upon in his daily travels; and the surroundings in which they live.  McNeill mentioned how Willie uses a simple camera to take photographs of his subjects before returning to his studio to paint them.  There is a lot of historical significance to Willie’s work.  He has done paintings of people who were most likely victims of the horrific Katrina that occurred in 2005.  Some of the communities that are part of his work are probably no longer in existence.

During his visit, Redline took Willie on a small tour of Milwaukee.  At the Gallery he performed gallery visits for several of the artist.  I was extremely blessed to not only have a studio visit but to spend an evening at dinner alone with Willie!  Willie is a polite gentleman, a very experienced artist, and a man with no shortage of conversation.  The man will talk you under the table—but is very engaging—you’ll wonder where the time went.  Seriously, if it hadn’t been for Beans and Barley closing on a Wednesday night—we’d probably still be there—him talking and me listening (lol)!

Me and Willie Birch

Me and Willie Birch

I really appreciated his “down home” manner; Willie is a highly successful artist, well represented, collected, and all that but he doesn’t wear it on his sleeve!  He shared his journeys and experiences with different galleries and a new direction he is going in with his work—public art and sculpture.  He recently designed “Crawfish Mounds” a sculpture that captures the essence of the New Orleans culture and its people.  For years Willie has had an interest in the fragility of grass, flowers, and crawfish mounds as he relates their survival to human beings’ struggle to survive.  Anyone that is native of New Orleans readily identifies with crawfish mounds.  Recently Willie had begun converting crawfish mounds into sculptural forms—from paper mâché to large-scale bronze.

As an artist, activist, historian, devoted father, and so much more Willie has already made significant contributions to the art world and beyond.  At 70 years he’s nowhere close to being done.

A Piece for the Tourist by Willie Birch

A Piece for the Tourist – W. Birch

Color Courage

As a visual artist I continue to challenge my courage for color.  I love color, period.  Well, is there such thing as too much color?  Is it ever more appropriate to use color than not?

I truly love to dance with color whereas color field artists conduct an orchestra with it.  Perhaps how color is used is solely dependent on the composition and emphasis of the piece—even though the artist may never voice this.  How many artists exist that do not know what colors they will choose at first—but decide along the way?  Others know from the start that it will be all about color and plan the piece based on the colors they want to use.  One color field artist friend of mine loves ‘playing’ with paint and is always reworking and changing colors.  Still some experiment—the first colors chosen are for swapped out for different ones—adopting a ‘devil-may-care’ attitude (hey, why not you can always gesso over mud).  Based on my current work (Children at Play) which uses color contrasts as part of the composition, I already know what colors I’ll use and how they will work to communicate what I’m trying to say.  The background colors I choose are just as important as the foreground or subjects’ colors. To avoid stagnation I strive to vary the intensity and effect making sure I have a good balance between dark and light tones with other elements of the piece.

The courage for me comes in being true to the piece and not letting my rampant color desires take over and disrupt what I’m trying to get to say to the viewer.  BUT, what about the unquenchable love for color that I told you I have?  Taking a “break” from my primary theme is a must for me.  This has been especially true of my recent Death by Skittles series—it can be too emotionally draining.  So I use printmaking, collage, mixed media, and fiber to get off on color.  Here’s one called Birds in Flight (mixed media) and Musing at Lake Serene (mixed media).

Birds in Flight

Birds in Flight

Musing at lake serene

Musing at Lake Serene

Um yes, it is possible to have color overload in a painting.  Just because you have access to every paint color variation in the rainbow doesn’t mean you have to use them all.  The eye can only take so much.  If many variations can be created from a few colors, why use 25 different ones.  I am sure—less is more.

30 Americans Exhibit Closes

On Saturday, September 7, I spent several hours on what would be my last visit to the 30 Americans exhibit on display at the Milwaukee Art Museum (MAM). While I do not have official numbers of visitors that day, it was wall-to-wall. I personally knew several people who were going this weekend to see it just one last time—the exhibit closed today, September 8. As one of the Wisconsin 30, I have gone often to participate in the related events, listen to speakers, et cetera—but it’s been so much more than this privilege afforded me. Like many others I was drawn back to it over and over again—each time attempting to absorb the magnitude and wealth of knowledge and information it had to offer. It’s hard to believe that it is over.

Even before the thought of the exhibition’s last showing loomed into view I was aware of what would soon take place. The reality slap came when I received the email from MAM staff giving instructions for the retrieval of my artwork. Many emotions have begun to manifest and I find myself asking, “Is this exhibit the beginning of many things to come (meaning, will similar provocative work find its way to MAM’s doors)? “Was this just another ‘one-of-a-kind’ event that comes once in your lifetime similar to Halley’s Comet?” “Will the timeless historical, cultural, societal, and political relevancy of this exhibit continue to reverberate throughout the hearts, minds, and souls of those who experienced it first-hand?” “Will it just remain ‘colorful eye candy’ to the shallow and simple-minded who wonder how did they (a particular ’30 American’ artist they admired) make it (the piece they were particularly drawn to)? “Is the significance and timing of 30 Americans coming to Milwaukee meant to be esoteric?” “What effect will it have on me and my work?” “What will the youth that visited the exhibit learn from it?”

As I ponder possible answers to these questions my belief that whether you have taken a panoramic or microscopic view of 30 Americans you will admit you are not the same you were before attending. Will you allow that changed person to move you to do something more—to be something more?

Most artists attempt to communicate to the viewer in their work—that’s what we do. It might sound crude, but whether you get it doesn’t really matter—we still has to get it out. The 30 Americans artists were not just speaking loudly—they were shouting!! Did you get it?

The Rubells–Owners of the “30 Americans”

Mera and Don Rubell

Mera and Don Rubell

On Thursday, August 15, Don and Mera Rubell, the owners of the 30 Americans exhibit visited the Milwaukee Art Museum (MAM).  The Rubell Family Collection (RFC), which includes the 30 Americans, comprises thousands of works and is probably one of the largest privately-owned art collections in the world.  Juan Roselione-Valadez, the director of the RFC facilitated the down-to-earth, impromptu lecture.  The Lubar Auditorium was near capacity as the Rubells shared the beginnings of their journey which began shortly after their marriage in 1964.

Mera, the primary spokesperson, shared how making a “connection” with the artists, their work, and inspiration is just as important (if not more) as purchasing art.  The Rubells shared stories of the intimate relationships they fostered with well-known artists Jean Michel Basquiat, Keith Haring, Jeff Koons, and others.  Surprisingly, conversations they had with contemporary artists (many of whom happened to be African American) and their influences revealed artists whose works they had been acquiring for the past 30 years—Robert Colescott, Carrie Mae Weems, Barkley Hendricks, and Kara Walker—to name a few.  The idea of 30 Americans exhibit was born from a desire to marry the works of both emerging artists and those who inspired them.  Again, they happened to be African American artists.

I enjoyed the Rubells’ candor and humor as they shared the pact they made early on to discuss the “validity of collecting potential artworks” with each other before purchasing them.  Both state they have held true to this collaborative spirit—not always easy when one’s passion over acquiring a new work overrules the logic of such a purchase!  The talk was informative, entertaining, and authentic—I could have listened to them for hours.

Nina Chanel Abney Lecture at MAM

On Thursday, August 1, Nina Chanel Abney, one of the 30 Americans artists’ gave a lecture at the Milwaukee Art Museum (MAM). Abney, originally from Harvey, a Chicago suburb, currently lives and works in New York. Although she is known as the “youngest artist of the 30 Americans;” the evolutions of her works over the past few years have undeniably “experienced” her. Below is one of her pieces currently on display at the MAM:

Khaaliqua and Jeff

Khaaliqua and Jeff

The rubber gloves are used in her work to signify those who may be involved in some type of dirty work they don’t want to be made liable for or, for those who are trying to protect themselves from something harmful.  Nina’s boldly colorful acrylic paintings began to grow in size at the encouragement of a college professor who suggested that she work large-scale.  A picture of her studio showed the walls covered with enormous canvasses of works in progress.  She also creates smaller watercolors as a relief from her primary work.

Nina’s work brings together influences from political, social, and cultural issues while purposely distorting their original focus or meaning.  At times Nina forces us to face typical societal  stereotypes, offering a playful view that though surreal is painfully all too real.  I adore her senior class thesis painting “Class of 2007” in which she painted her classmates black while she, the only African-American in her class is displayed as white.

Class of 2007

Class of 2007

I do identify as I recall my college days of often being the only “one.”  When creating, she has a definite path of where the painting is going—yet there is no point of assuming you have a handle.  According to Nina the work flows better when she creates intuitively at the canvas never really planning ahead what she is going to do.  However, once she gets started she does gather information from research, newspapers, the Internet, etc., for reference.  It seems Nina may continue to work in a state of flux to keep the viewer ever wondering.  I dig that about her!

Nick Cave Visit

Nick Cave in his apartment

Nick Cave in his apartment

Last Saturday, July 27 I went on a day trip to Chicago with the Contemporary Art Society and African American Art Alliance to visit the home of 30 Americans artist, Nick Cave.  His pieces, “Soundsuit,” are currently on display at the Milwaukee Art Museum in the 30 Americans exhibit.  Nick is very personable, friendly, and passionately serious about his work.  If you haven’t gotten a chance to visit the exhibit here’s one of his pieces.  It is a combination of fabric, fiberglass, and metal.



He recently completed new work for his newest exhibition, “Sojourn” at the Denver Art Museum, in Denver, CO.  So, with a break in the action, Nick allowed us to come into his art studios and personal living space.  The first studio we entered had materials laid out on tables that were part of his unfinished commissioned pieces.  Nick, and his graphic designer/creative director Bob Faust, are shopaholics!  They regularly visit tons of resale shops far and wide to find the treasures he uses in his creations.  He is very particular about what he is looking for and knows what he intends to use it for.  We saw many rooms containing bins of buttons, mannequin forms, and several sewing machines.  The second studio we entered contained more “works in progress” and more sewing machines.  There was so much raw material and we all laughed afterwards remembering earlier that Bob told us the studio was “quiet” because it had been recently emptied in preparation for the Denver show.

Next we went into his apartment.  “Speechless,” “WOW!” and “Amazing,” are some of the adjectives used to describe what we saw.  It was eye candy overload because Nick is a serious art collector and says he has a hard time not buying art when he visits an exhibition.  In every room (and there were many) we found art on the walls, floors, doors—just about everywhere!  Interestingly the number of art pieces didn’t make his space overly busy or crowded.  Every piece had its place and fit well with other art, furniture, and everything else in the room.

Nick with visitor

Nick with visitor

I fell in love with his personable spirit right away.  Nick joked that he is ok if you’re ok.  His students at the Chicago Art Institute are both challenged and enthusiastic when he is in the classroom.  He expressed the same thing many artists already know—hard work ethic and determination are a must in order to succeed.

As an artist I am always inspired and excited when I meet new artists and listen as they share their vision.  Meeting Nick Cave was for me a delightful high that will last for quite a while.

Me and Nick Cave

Me and Nick Cave

“Why Here?”

On July 11, the Milwaukee Art Museum (MAM) held a panel discussion with Wisconsin 30 artists to respond to the question, “Why Here?” Reginald Baylor, Sonji Hunt, Anwar Floyd-Pruitt, Mikal Floyd-Pruitt, Evelyn Patricia Terry, and via video Tyanna Blue discussed the question in reference to their choice to live and work in Wisconsin.

I asked friend and fellow artist, Evelyn Patricia Terry, to share her thoughts. Here’s a summary of what she said…

“For the panel, “Why Here?” I had only one sentence that I was committed to, “Wherever you go, you take yourself with you.” With a 40-year stash of something to say about art and 67 years of something to say about living in Milwaukee, “Why here” is a piece of cake. I echoed another panelist, Tyanna Buie with, “Why not here?” After traveling as much as I could…because one can work from anywhere as an artist…I decided to stop wasting time on that aspect of my life and do what I really wanted to do. I am an artist. At this time, I can do art here. My goal to accomplish my art being everywhere began years ago and continues.

I have traveled as much as I needed to get information about finding a better place to live. I went to Russia and when I arrived they told me to stand in the corner as the other passengers went in. I went to Brazil (with an artists’ group) and the women were disregarded terribly. I went to California and did not care for the earthquakes. I visited New York and, of course, did not care for it. I live on 18th and Wright and the streets are cleaner.

My exhibited artwork, “Magic is Dream Stacking” reflects my propensity to stack dreams/goals and work toward their achievement. Another goal is to get my artwork into the right collection.”

I agree with Evelyn. Where I live doesn’t limit where my art is exhibited or sold. When my artwork finds itself in a place where I am not, I admit I do have mixed feelings—my art is an extension of me since it has come from me and sometimes it’s hard to let go. At the same time, though, I’m sharing my passion; what I need to say.

Art, Poets, Bronzeville

Sankofa is an Akan word that means,
“We must go back and reclaim our past so we can move forward;
to understand why and how we came to be who we are today.”

Mutope J. Johnson, is one of the distinguished artists included in the Wisconsin 30.  The “thirty” make up the complementary exhibition being held in conjunction with 30 Americans–the nationally-acclaimed documentary of works that address issues of racial, sexual, and identity–and its powerful influence on contemporary culture.

I have been blessed to work with Mutope over the last several years.  He is an exceptional artist, my great mentor, and friend.   I have included excerpts from his artist statement here because it provides insight on the “what” and “why” of his current works and also serves as an introduction to my upcoming poetry page.

Poet Blanche by Mutope

Poet Blanche, by Mutope

“The current narrative centered around my work focuses on the contributions of the poet and how collaborations with literary artists can help to inform art work in a more interesting way.  The works in progress feature drawings, paintings and relief print studies predominately including the use of the color Indigo. The investigation of the color blue not only allows me the opportunity to respond to the issues around pigment as metaphor, it also becomes an artistic strategy for presenting painting and drawings in a format that promotes the conversation of history and culture.”

“Many of these memories have been revisited because of recent conversations about an area of Milwaukee known as The Bronzeville District, a North side neighborhood where I grew up as a youth. The neighborhood was labeled blighted property where it was targeted and destroyed through the city government’s eminent domain policies. This once vibrant cultural district was replaced with the I-43 freeway which cut right through the heart of Bronzeville, tearing down homes and businesses and displacing families.”

“I understand that my paintings and drawings may not solve any problems long or short term, and what I advocate through my work only represent a small part of a much larger conversation. However, through collaboration and helping to amplify the voice of the poet through visual art, I may be able to contribute to the debate in a positive way, and in the process, grow personally as an artist and strengthen my own creative commentary on subjects like the Bronzeville District controversy through my work as an artist.”  Mutope Johnson