3 Questions Digital Series with Victor Ekpuk – U.S. Department of State, Art in Embassies

19 Mar

Victor Ekpuk is a Nigerian-born contemporary artist based in Washington, DC. His art, which began as an exploration of nsibidi “traditional” graphics and writing systems in Nigeria, has evolved to embrace a wider spectrum of meaning that is rooted in African and global contemporary art discourses. His art is inspired by nsibidi, a sacred means of communication among male secret societies in southeastern Nigeria. Evolving out of the graphic and writing systems of nsibidi, Ekpuk’s art embraces a wider spectrum of meaning to communicate universal themes. “The subject matter of my work deals with the human condition explained through themes that are both universal and specific: family, gender, politics, culture and identity.”

For over five decades, Art in Embassies (AIE) has played a leading role in U.S. public diplomacy through a focused mission of vital cross-cultural dialogue and understanding through the visual arts and dynamic artist exchange. The Museum of Modern Art first envisioned this global visual arts program in 1953, and President John F. Kennedy formalized it at the U.S. Department of State in 1963. Today, Art in Embassies is an official visual arts office within the U.S. Department of State, engaging over 20,000 participants globally, including artists, museums, galleries, universities, and private collectors. It encompasses over 200 venues in 189 countries.

Professional curators and registrars create and ship about 60 exhibitions per year, and since 2000, over 70 permanent collections have been installed in the Department’s diplomatic facilities throughout the world. Art in Embassies fosters U.S. relations within local communities world-wide – in the last decade, more than 100 artists have traveled to countries participating in AIE’s exchange programs and collaborated with local artists to produce works now on display in embassies and consulates. Going forward, AIE will continue to engage, educate, and inspire global audiences, showing how art can transcend national borders and build connections among peoples.

https://art.state.gov/

Available artwork by VICTOR EKPUK at Morton Fine Art

3 Questions Digital Series with Kesha Bruce – U.S. Department of State, Art in Embassies

18 Mar

Kesha Bruce’s work explores the complex connections between history, personal mythology, and magical-spiritual belief in the African diaspora.

Born and raised in Iowa, she completed a BFA from the University of Iowa before earning an MFA in painting from Hunter College in New York City. Kesha Bruce has been awarded fellowships from the New York Foundation for the Arts (NYFA), The Vermont Studio Center, The CAMAC Foundation, and received a Puffin Foundation Grant for her work with Artist’s Books. Her work is included in the collections of The Smithsonian Museum of African American History and Culture,The Amistad Center for Art and Culture, The University of Iowa Women’s Center, The En Foco Photography Collection, and MOMA’s Franklin Furnace Artist Book Collection.

For over five decades, Art in Embassies (AIE) has played a leading role in U.S. public diplomacy through a focused mission of vital cross-cultural dialogue and understanding through the visual arts and dynamic artist exchange. The Museum of Modern Art first envisioned this global visual arts program in 1953, and President John F. Kennedy formalized it at the U.S. Department of State in 1963. Today, Art in Embassies is an official visual arts office within the U.S. Department of State, engaging over 20,000 participants globally, including artists, museums, galleries, universities, and private collectors. It encompasses over 200 venues in 189 countries.

Professional curators and registrars create and ship about 60 exhibitions per year, and since 2000, over 70 permanent collections have been installed in the Department’s diplomatic facilities throughout the world. Art in Embassies fosters U.S. relations within local communities world-wide – in the last decade, more than 100 artists have traveled to countries participating in AIE’s exchange programs and collaborated with local artists to produce works now on display in embassies and consulates. Going forward, AIE will continue to engage, educate, and inspire global audiences, showing how art can transcend national borders and build connections among peoples.

http://www.art.state.gov

Available Artwork by KESHA BRUCE

Amber Robles-Gordon discusses her series “The Temples of My Familiars”

17 Mar

Video by Jarrett Hendrix

“The Temples of My Familiars” series is about the intersections between my identity, the diverse visual languages in my artwork and the narratives they reference. The title is most definitely borrowed from the 1989 Alice Walker novel, The Temple of My Familiar. A womanist narrative about several women of color and their evolutionary process to know self, their identity and their struggle for happiness within a patriarchal society. However, I chose the title because of the distinct visual reference my sculptural geometric-like renderings took on once I inverted them. They became temples, a place of spiritual practice and sacrifice in which I could place my familiars —my visual languages. A place where they could be re-rooted, re-formulated, and take on a new life.

Being an artist has facilitated a very specific type of data collection, visual documentation, analysis and a vast array of methods of self-expression and personal exploration regarding issues that concern me. During a recent journey through past work, contemplations, beginnings and endings; I encountered fragments of myself. These fragments vibrated silently, yet continuously, like piercing questions waiting to be answered. The various languages beckoned and bemoaned to be unified. Once combined, the equations gracefully revealed themselves in harmony. Each artwork, 24 x 18 in, mixed media collage, within the series begins with title “The Temples of My Familiars” and then has a distinct sub-title. -AMBER ROBLES-GORDON, 2019

Contact Morton Fine Art for available artwork by AMBER ROBLES-GORDON.

http://www.mortonfineart.com

AMBER ROBLES-GORDON

(Washington, DC b. Puerto Rico)

EDUCATION

2011 M.F.A., Howard University, Washington, D.C.

2005 B.S. in Business Administration, Trinity College, Washington, D.C.

SELECTED SOLO EXHIBITIONS

2021 American University, Katzen Arts Center, Washington, DC

2019 Universidad del Sagrado Corazon, San Juan, Puerto Rico 2018 Washington College, Chestertown, MD

2018 Third Eye Open, Morton Fine Art, Washington, D.C.

2017 At the Altar, Arts Center/Gallery Delaware State University, Dover, DE

2017 Pennsylvania College of Art and Design, Lancaster, PA

2012 Milked, Riverviews Art Space, Lynchberg, Virginia

2012 With Every Fiber of My Being, Honfleur Gallery, Washington, D.C.

2011 Milked, National League of American Penn Woman, Washington, D.C.

2011 Wired, Installation and Exhibit, Pleasant Plains Workshop, Washington, D.C.,

2010 Matrices of Transformation, Michael Platt Studio Gallery, Washington, D.C.

2007 Can You Free Me?, Ramee’ Gallery, Washington, D.C.

1997 The Artwork of A. Robles-Gordon, Dance Place Exhibition Space, Wash., D.C.

1995 The Art, The Brittany, Arlington, VA

COLLECTIONS

Judith A. Hoffberg Archive Library, University of California, Santa Barbara, CA

Masterpiece Miniature Art Exhibition, Kuala Lumpur, Malaysia

Capital One Bank, McLean, VA

District of Columbia’s Art Bank, Washington, DC

Schomberg Center for Research in Black Culture, New York, NY

The Gautier Family Collection, Washington, DC

Department of General Services, Washington, DC

Martha’s Table, Washington, DC

Democracy Fund, Washington, DC

MFA’s “Artist to Artist” talk with Kesha Bruce, Lisa Myers Bulmash & Liz Tran

2 Mar
“Artist to Artist” – a talk series featuring organic and authentic discussion with KESHA BRUCE, LISA MYERS BULMASH and LIZ TRAN.
Morton Fine Art debuts “Artist to Artist” – a talk series featuring organic and authentic discussion between Kesha Bruce, Lisa Myers Bulmash and Liz Tran. Meet the artists, learn about unconventional art supplies, production and art practice during Covid times, and questions for the future of the art market.

Video by Jarrett Hendrix.

Visit www.mortonfineart.com to view the brilliant creations of Kesha BruceLisa Myers Bulmash and Liz Tran.

Morton Fine Art
52 O St NW #302
Washington, DC 20001
(202) 628-2787 (call or text)
mortonfineart.com
info@mortonfineart.com


By Appointment Only. Mask required.

Founded in 2010 in Washington, DC by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora. 

Morton Fine Art founded the trademark *a pop-up project in 2010. *a pop-up project is MFA’s mobile gallery component which hosts temporary curated exhibitions nationally.

Gallery Hours: By Appointment Only.
Mask Required. 

Contact the gallery for supplementary artwork documentation such as detail images and short videos. Safe, contact–free door to door delivery available. Shipping nationally and internationally.

Art in Embassies Abuja includes Osi Audu, Kesha Bruce, Victor Ekpuk and Amber Robles-Gordon

27 Feb

Morton Fine Art is pleased to announce the inclusion of artwork by artists OSI AUDU, KESHA BRUCE, VICTOR EKPUK and AMBER ROBLES-GORDON in Art in Embassies Exhibition, United States Embassy Abuja. With heartfelt thanks for the inclusion to Ambassador Mary Beth Leonard.

Established in 1963, the U.S. Department of State’s office of Art in Embassies (AIE) plays a vital role in our nation’s public diplomacy through a culturally expansive mission, creating temporary and permanent exhibitions, artist programming, and publications.

AIE’s exhibitions allow citizens, many of whom might never travel to the United States, to personally experience the depth and breadth of our artistic heritage and values, making what has been called a “footprint that can be left where people have no opportunity to see American art.”

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AMBER ROBLES-GORDON in Ahlem Baccouche and ARTNOIR’s Larry Ossei-Mensah “From: Friends, To: Friends”

5 Feb

From: Friends, To: Friends Nov 27 Part 2: On The Journey

 in article

Ahlem Baccouche in conversation with Larry Ossei-Mensah on his journey into the art world, his stance on diversity, and much more. 

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Leveraging the power of art as an agent for social change and cultural transformation is the mission of ARTNOIR’s co-founder, art critic and international curator Larry Ossei-Mensah, whose latest initiative invites people to become agents of change in the art industry.  

In the first part of this interview, Larry expanded on his partnership with Artsy for the ARTNOIR From: Friends To: Friends Benefit Auction, which aimed to raise funds for the newly launched ARTNOIR Jar of Love Funda microgrant initiative intended to provide relief for artists, curators, and cultural workers of colour.  

In this second part, we discuss Larry’s journey into the art world, his views on diversity, his upcoming projects and advice on leading an authentic life.  

Ahlem Baccouche: I’m always curious about the journey that led people to their current position, as life is never a linear path. What was your journey like?  

Larry Ossei-Mensah: My starting point in terms of art and business was in high school, where I did internships at record labels like Epic and Columba Records from my junior year all the way through university. I wanted to be a record man, I wanted to be Diddy. That experience gave me my first exposure to the intersection of art and business. The art being music as a form of expression, but also music as a commodity: how it can be packaged, marketed, distributed and consumed.  

That foundationally informs my thinking. When I think about an exhibition that I’m doing, I see it like an album release. How do I build content around a show that will be different than just a press release and an email blast? A good example of that would be the Phillips Auction conversation with Tremaine Emory, we used it not only as a space to talk about art, but also social justice and other issues currently impacting society.  

I eventually realized that the music industry wasn’t for me, and worked a bit in marketing and advertising before going to Switzerland to complete a Masters at Les Roches. My mother worked in the hospitality industry for about thirty – thirty five years at the Waldorf Astoria, so there was always a romance of opening a hotel or something similar one day, as it’s an industry that I grew up in. That is something I still want to do in the long term.  

Studying at Les Roches and being exposed to a truly international student body shifted my thinking about humanity and how we engage with each other. It taught me how to really value people, relationships, and perspectives that were different from mine. Just because you have two people from the same city, like New York, doesn’t mean they’ll get on. We can have very different experiences. My time at Les Roches also afforded me an opportunity to travel and explore Europe. As a graduate student, I didn’t have a lot of discretionary income, so I found things that were free and, a lot of the time, that would be museums.  

The American education system makes you believe that there wasn’t a presence of Black people in Europe throughout history. However, by going to these museums in Europe, to a place like Florence’s Uffizi Galleries, and discovering paintings of Black people, even if they’re mixed, was mind blowing. That afro, is undeniable.  

That exposure started an inquiry into who’s telling the narrative of the Black diaspora experience? Who’s controlling the story? So much is hidden from us or recontextualized. For example, one of Sicily’s patron saint is of African descent, Saint Benedict the Black, there are murals of this guy all over Palermo. It’s not a hidden secret, but it’s not openly discussed. I began this inquiry and started taking photographs as a way to document these experiences and began to exhibit these images when I moved back to the states. I exhibited a little, but quickly realized that being a photographer wasn’t my journey. After that epiphany,  I started writing about art and that’s when I noticed that there weren’t enough platforms for artists of colour to have their work be seen, discussed and purchased.  

This was over ten years ago, before it became in vogue. The ability to recognize that and be invested in it fully has allowed me to build a lot of relationships, which was the backstory behind the foundation of ARTNOIR. Knowing artists at the beginning of their career and having a decade-long relationship with them, whether I’ve shown their art or not, provided a spark plug for rich dialogue and collaboration with these artists. Moreover, building those relationships over time helped me shift and expand my thinking about contemporary art.  

Click here to read the entire article:

https://www.madeinbed.co.uk/agents-of-change/from-friends-to-friends-part-2-on-the-journey

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Temples of My Familiars R Squared Triangular Fractals, The Yin and Yang Over Color Theory by Amber Robles-Gordon. Image credit: Amber Robles-Gordon website.

 AB: What projects are you currently working on?  

LOM: I will be co-curating the 7th Athens Biennale with OMSK Social Club, which has been rescheduled for Spring 2021.  

I’m doing a show in Rome in November as part of a series of exhibitions called Parallels and Peripheries. The show in Miami included only women artists. In Detroit, we looked at the intersection of Art, Technology, and Nature. In Maryland, the theme was about migration and immigration, and it included first generation immigrant artists. The show in Rome is called Fragments and Fractals and is held at Galleria Anna Marra (a 3D viewing is available). 

We’ll be thinking about fractals as a mathematical concept, the potential to repeat infinitely, and exploring the idea of fragmentation when thinking about layered identities. As an example, I’m Black; I’m African American; I’m also Ghanaian; I’m a New Yorker; I come from a working class background; I’m a male. We try to look at the different layers that compose a person, not just from an identity standpoint, but also from a practice standpoint. 

The show includes six Black artists: Kim DacresKenturah DavisBasil KincaidNate LewisDavid Shrobe and Kennedy Yanko. They all work with different mediums such as sculpture, photography, drawing and painting. It will be the first show in Italy for some of them. Just think about the social climate in Italy, particularly for Black folks. How do we use the exhibition as a platform to key in on those things? I also highlight that the fact that we’re Black does not mean that we’re a monolith. We’re very vast and very diverse in our experiences, our thinking and our creative approach.    

Next, I have a show at the American University in 2021 with Amber Robles Gordon, an Afro Puerto Rican artist based in DC. It will be a solo show of just abstract work, which is exciting for me, because I don’t think I’ve done a solo presentation of just abstraction. So I seize this opportunity to educate myself on movements like the Washington Color School and look at artists like Alma Thomas more closely.  

It’s also interesting to mine this layer of the diasporas: so thinking about the African diaspora experience from a Latin perspective, but then also from an American perspective, because the artist grew up in the United States as well. 

Lastly, I’m toying around with the idea of writing a pocket book on my experience in the art world. I gave a lecture with Oolite Art at Anderson Ranch called “Lead with the Hustle.” I describe my journey, but also talk about things that I’ve recognized that I believe not only artists, but all people should be aware of.  

From storytelling, to relationship management, professionalism, likeability and how to operate on a professional level consistently. It’s about how to work within the art world from a business standpoint and think about storytelling through your work. What is your story? If I was doing an article on you, what would that story look like? Why do you do what you do? 

AB: Are there any artists, curators, businesses, colleagues, or organizations whose work you admire and would like to highlight?  

LOM: In terms of curators, Okwui Enwezor of course. I’m following many curators who are doing a lot of incredible work internally and externally. Among them are Meg Olni from ICA Philadelphia, Erin Christoval from the Hammer Museum and Osei Bonsu at Tate Modern.  

I like what SAVVY Contemporary is doing in Berlin. In terms of fashion, I love what Pyer Moss is doing. They just released a sneaker of which the proceeds will go towards The Innocence Projects.  

AB: Any favourite advice, resources or tips you’d like to share?  

LOM: It goes back to the pillars: really understand why it is you’ve chosen to work within the arts. I think that understanding the why, for me, informs everything else. It’s going to inform where you’ll choose to work; it’s going to inform your values. I recommend this book called Start with Why.  

Cultivate meaningful relationships. The art world in particular, is about human connection. You’ll know a lot of people, but how many of those people are meaningful relationships where you can pick up the phone and call if you have a question, or an issue. How many of those people would you invite over to your home for dinner?  

Branch out. Build a support system. This is going to be a journey and you need people from different spectrums. When we think about mentorship, it’s always kind of thinking of an old wise person, and that’s antiquated. We need to change the way we think about mentorship, as it doesn’t necessarily have to be with an older, wiser person. I think peer mentorship is just as valuable.  

In terms of books, Never Eat Alone is a great book about relationship building. Some people will call it networking, I prefer “relationships” as “networking” feels more transactional. Who Moved My Cheese is a good one to adapt to change. Collecting Contemporary by Adam Lindemann, particularly for artists who want to get a snapshot of the industry. The Hard Things About Hard Things is a business book coming from an honest perspective. Usually, when you hear about a business, you only hear about the success. You don’t hear about the pitfalls, running out of money, being broke and the resilience that it takes. Being an artist is not easy, so you need to make sure to have the tools and the support to navigate the ebbs and flows of this journey. 

And my final tip: Stay true to yourself.

Source: https://www.madeinbed.co.uk/agents-of-change/from-friends-to-friends-part-2-on-the-journey Tags: Larry Ossei-MensahARTNOIRAmber Robles GordonAhlem BaccoucheMadeinbedmagazinePeter Williams ExhibitionOkwui EnwezorMeg OlniErin ChristovalOsei BonsuOolite ArtAnderson RanchWashington Color SchoolAlma ThomasSotheby’s Institute of Art

Available artwork by AMBER ROBLES-GORDON

Morton Fine Art, 52 O St NW #302, Washington, DC 20001

http://www.mortonfineart.com

LISA MYERS BULMASH “The Home Inside My Head” reviewed in The Washington Post

27 Dec

Congratulations to LISA MYERS BULMASH for the rich review of her solo exhibition “The Home Inside My Head” in today’s print edition of The Washington Post by Mark Jenkins. (Arts & Style Section 12/27/20)

Lisa Myers Bulmash

Also spurred by pandemic-era exile from everyday life, Lisa Myers Bulmash conceived a Morton Fine Art show “The Home Inside My Head”. The Seattle artist combines found and personal objects into 3-D collages that conjure both African American history and her family’s own story. The pieces juggle the antiquarian and the immediate to express what Bulmash’s statement calls “a Black and female viewpoint”.

One series, “Rare & Exquisite,” places oversize models of endangered butterflies atop maps of regions of the United States collaged from Colonial-era (and thus not entirely reliable) charts. The effect is to correlate the threatened species — affixed with heavy railroad spikes that evoke hard labor –with Black people whose place in this country has always been at risk.

Examples of another antique tool, the wooden washboard, serve as frames in the “Bought and Paid For” series. The washboards hold books and ovals made of twine, which enclose overlapping transparencies of family photos. The pictures depict various old structures, including houses, and children at play. Again, Bulmash contrasts rough materials with fragile beings.

It seems apt that another piece is based on a torn piece of old sheet music repaired by kintsugi, the Japanese technique of using gold to both accentuate and exalt the cracks in a broken vessel. Bulmash’s assemblages can be seen as a bid to mend history.

Click HERE to read the review in full.

On view by appointment at Morton Fine Art through January 6th, 2021. Located at 52 O St NW #302, Washington, DC 20001.

(202) 628-2787 (text or call)

info@mortonfineart.com

http://www.mortonfineart.com

Available Artwork by LISA MYERS BULMASH

New artwork arrivals by KATHERINE TZU LAN MANN

21 Dec

My work’s abstractions arise from the subjects I portray: ecological and geological cycles, processes of chemical corrosion and natural efflorescence. With roots in traditions of Chinese landscape painting, my monumentally sized paintings and installations evolve a fantastic, abstract vision of the natural world. My latest work confronts the challenge: the resuscitation of landscape painting in a world where “landscape” is represented and defined through an ever-widening field of digital, graphic, and visual forms. How can a painting capture flux, abundance, waste, fertility, and the collision and collusion of diverse forms? How can it respond to the pressure we place on our era’s fragile ecosystem? My paintings explore both questions by sustaining tension between what is artificial and what is natural, between what is chemical and what is biological, between organic and inorganic. The paper on which I paint is not only a recognition of a tradition of Chinese painting; it is also a medium of vulnerability and expansiveness, susceptible to crease and tear as well as to collage and collation. My own role in the creation of the paintings strikes a balance between the purposive and the protective. I trust to process, chance, and change, but I encourage, direct, and facilitate all of these. In my most recent work, I hope to live in the tradition of landscape painting, experiencing it for what it has always been: an occasion for radical experimentation and confrontation with the world, in the broadest sense of the term that sustains us. – KATHERINE MANN

Click HERE to view available artwork by KATHERINE TZU LAN MANN.

Morton Fine Art, 52 O St NW #302, Washington, DC 20001

(202) 628-2787 (text or call)

info@mortonfineart.com

http://www.mortonfineart.com

Wallpaper Magazine, Victor Ekpuk and Prizm Art Fair 2020

4 Dec

ART | 1 DAY AGO | BY HARRIET LLOYD-SMITH

Prizm Art Fair gives a platform to African Diasporic perspectives

Coinciding with Miami Art Week, Prizm Art Fair is championing and examining the intersections of African cinema traditions and visual art

Sthenjwa Luthuli, Reaching For Stars (2020)

In spite of widespread coronavirus-related hurdles, 2020 has offered glimmers of hope for the art world, particularly in the steps taken to highlight, and rectify the lack of diversity across the industry.

One art fair, Prizm, has been spotlighting diverse voices in contemporary visual art since 2013, with a core mission to widen the scope of international contemporary art from Africa and the African Diaspora.

By carving out a space for cross-cultural exchange in Miami and beyond, the fair seeks to address socio-political and cultural issues pertinent to people of African descent, while educating and nurturing the city’s inhabitants.

Victor Ekpuk, Mother Series #1 (2019) as seen at Prizm Art Fair. Image courtesy of Morton Fine Art

‘African Diasporic communities have attempted repeatedly to blanket themselves from a host of incessant obstacles – systemic injustice, racism, economic disparity, gender inequality – while the goal post of progress stretched farther away with each giant leap made towards it,’ says Mikhaile Solomon, founder and director of Prizm.

For its eighth edition, coinciding with an unsurprisingly scaled-down Miami Art Week, the fair’s online programme will feature 47 artists in ‘Noir, Noir: Meditations on African Cinema and its Influence on Visual Art’, an exhibition curated and organised by Solomon and interdisciplinary artist William Cordova. Noir, Noir references the African avant-garde film tradition and encourages a deeper understanding of global African identities through the intersection of cinema and contemporary visual art. Elsewhere, highlights include a programme of film screenings and talks led by leaders in Diasporic Visual arts.

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John Baloyi, Lititha 4 (2020). Courtesy of Dyman Gallery

Participating galleries hail from eleven countries including the United States, Caribbean and the African continent including Barbados, Ethiopia, Haiti, Jamaica, Martinique, Saint Maarten, South Africa and Trinidad. Featured artists include Victor Ekpuk, Yanira Collado, Sthenjwa Luthuli, Alicia Piller, Justice Mukheli, Versia Harris and Milena Carranza Valcárcel. Prizm will also spotlight emerging Miami-based artists who engage in socio-political issues pertinent to people of African descent, and in the city’s growth as a cultural hub. 

 

Prizm Art Fair will be accessible online until 21 December 2020. prizmartfair.com

Link to Wallpaper* Article

Available Artwork by VICTOR EKPUK

Virtual exhibition and artist narration of LISA MYERS BULMASH’s solo exhibition “The Home Inside My Head” at Morton Fine Art

24 Nov

Virtual tour and artist narration of LISA MYERS BULMASH’s first east coast solo exhibition, “The Home Inside My Head” at Morton Fine Art in Washington, DC.

Video credit: Jarrett Hendrix

Contact the gallery for private viewing by appointment, price list and acquisition. (202) 628-2787 (text or call) info@mortonfineart.com http://www.mortonfineart.com

“For most of this year, we’ve had to make a home inside our heads — because a virus was blocking the way out to “normal” life. That was fine by me at first: home is my castle and retreat. But there’s no vacation from yourself, or the deepest fears for your children’s future. Even a rich interior life becomes over-stuffed with emotions, memories and uncomfortable truths. The works in “The Home Inside My Head” reflect this ambivalence. The “Bought and Paid For” series was born from the love and deep gratitude for my ancestors’ struggles to give me greater opportunities. But even during my sheltered childhood, I recognized not every house feels like home as I experienced it. Not every parent prepares their child for ugly realities like institutional racism. As a 21st century Black woman, I need to make work that explores my disillusionments as well as my hopes for America. Collages like “One Nation, Under Reconstruction” are my attempts to name these experiences as truthfully as I can. I center a Black and female viewpoint in my work, as examples of a specific story illuminating the general human condition. But there’s something else. We can’t continue to tell each other the same stories featuring the same old heroes. Those icons accomplished amazing things everywhere but at home. We need to imagine our next home before we can live in it: this is the place where we build new narratives.” – LISA MYERS BULMASH, 2020