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Feminist theory has argued that there is a “white-male-position-accepted-as-natural, or the hidden ‘he’,” that is the subject of all scholarly predicates.[1] Despite feminist interventions, the default viewpoint of the white male continues to hold in the visual arts today, especially when the black body is the subject. Stuart Hall argues exactly that when he speaks of ‘the construction of white representation of blackness’ in film being totalizing and harmful.[2] This harmful

Looking at my art this week, a friend of mine said, “this could be your logo.” Then it dawned on me that a version of that shape is my logo. I had done it a long time before the art that was being referenced. This experience echoed what has been happening not only in my artistic journey but in my life, it is the great return or the endless great returns. Something I started earlier is making it’s way back into my life. Earlier this year, I was talking to another friend, who

Sinners is going down as a classic. Right now, it’s having a moment, but I’d argue this is only the beginning of its impact. Some works earn immediate acclaim; others reshape the landscape quietly, over time. Sinners feels like both. Watching it, I felt something shift in me, something deep, almost difficult to articulate. And I know I’m not alone in that because everyone knows the scene. The burning house. It’s rare for a single moment in a film to become collective language

Trusting your timing and finding your path, at your pace Listening to Zahara (RIP) in the shower, I was met with millions of thoughts. Her song Destiny is a beautiful affirmation of life and differing timelines that you all need to listen to. We often compare our journeys to people around us, or famous people we know. We also get compared to others all the time by people close and far. This begins to create an anxiety about where we are going that has different effects on us.