My artistic practice requires me to delve deeper into the layers of my belief systems and interrogate assumptions in order to understand how my perception of reality influences my work. I am interested in learning about different philosophies that investigate the nature of human experience and our common bonds—for example, Carl Jung’s ideas of the collective unconscious, Joseph Campbell’s ideas of the Monomyth, and Taoism’s embrace of reality as an indivisible totality.

Sense of place is a location in our minds triggered by a range of stimuli; scent of blooming plants, echoes of trainyards, smooth and tacky handrails of an escalator—channeled memories shape our perception. In the final stages of our lives, it is often this minutia that is clearest and most palpable in our memory.

During his time as a community health worker in New Orleans, Sean found himself at odds with the troubles people faced in his environment and the lack of attention it was getting. He sought to use art as a means of investigation, and as a result of looking into the problems in his community, Sean arrived at the intersection of art and public health. Through this creative lens, Sean has begun an artistic practice that surveys themes of health and African-American history.

I seek to draw inspiration from the mundanity of everyday life—to reveal the beauty within the ordinary. My paintings depict particular environments and their implicit stories. I work in abstracted realism, painting recognizable places and objects that I manipulate through both color and the juxtaposition of flattened spaces against modeled forms. Although people are absent, a human presence is invariably implied, especially by way of the things that they have left behind.

Demetri Burke uses mixed media—with a basis in oil paint—to express narratives of identity and culture on canvas. His art reflects his upbringing as well as his current experiences. His constant examination of themes is visible in his findings: black like the skin, still like the clouds, and hopeful like his mother’s smile.

Veil chronicles a personal, emotional journey caused by the effects of a prolonged pandemic and moments of social injustices. Volatile social interactions became commonplace in both media and amongst friends. I found myself withdrawing from potentially uncomfortable situations I would otherwise engage in. Constant states of vulnerability and contemplation resulted in building a thin emotional wall to protect my own peace.

Formed from fragments of past memories, dreams, and experiences, I consider my paintings to be self-portraits. As you view the figures in my paintings you might feel as if you suddenly interrupted an intimate exchange that’s suspended in time. I paint authentic souls simply existing in their mundane realness. Art has always been a way for me to make sense of the world around me in the same way that dreams help us uncover what is hidden beneath the obvious surface, and to delve deeper into understanding our own personal truths.

Memories encompass where we come from, who we know, and what we subconsciously find important. They make up who we are but they are also malleable and can be manipulated like any medium used in art. I reevaluate my personal memories for moments that have either affected how I interact with others or impacted the intersection of my marginalized identities. Working from my individual past both articulates a better understanding of my own background as a Black Carolinian woman and creates a platform where others can find relatable connections from my work in their lives.

My work is about history, spirituality, and my attraction to repetitive patterns found in the surrounding environment. The latest paintings are influenced by medieval illuminated manuscripts, a result of searching the digital collections of libraries around the world during the pandemic. The paintings are large-scale, built up with acrylic paint, acrylic pens, ink, and printmaking techniques. Drawing is a very important element in my work. I manipulate my drawings and photo images using a drawing filter from the computer and make silkscreens out of them.

I create vivid abstractions that harness the power of chance to explore color and form. I’m interested in making loosely sequential images that echo the disjointed and time-specific color palettes of cultural ephemera and nostalgia. The geometrically painted images yield variations that juxtapose considered and spontaneous mark making. Collage elements supplant the subtle nuances of paint with hard edged geometries. The accumulative hypnotic effect of the paintings is offset by textural variation that adds a weathered, impulsive energy.