Kay Reese
Work that visualizes the African Holocaust, using abstraction as the narrative structure of this global historical and social phenomenon.
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Witness to Captivity

All people possess intellectual, spiritual, moral qualities, social values, and physical properties. However, the one visibly distinct physical characteristic of Black people is their hair. It is notably the oldest and most genetically advanced, unique, and flexible hair on the planet. It represents who Black people are and have been for centuries. Yet, black ethnic characteristics have been the most consistent target for discrimination, abuse, rejection, and attempted holocaust by various societies.

The Crossing series visualizes the African Holocaust, using abstraction as the narrative structure of this global historical and social phenomenon. It uses Black people’s naturally textured hair as a central, unifying visual element.

The Crossing narrative consists of “scenes” or active landscapes which convey the experience of Black people struggling for freedom as they cross the world in ships as captives in pre-and post-colonial eras, crossing borders, languages, cultures, gods, and identities.  It is well documented many rebellious captives were thrown overboard. However, many others committed suicide by throwing themselves overboard. Subsequentially challenging the concept of suicide as self-murder, rather than a requirement of spiritual freedom or a quest for life and redemption in response to the loss of “free will” a fundamental human right. And against the inherent evil of degradation, despair, and spiritual death in human captivity.

An award-winning visual artist/photographer, and curator, Reese came of age in the civil rights-era and became a Franciscan nun for several years before leaving in the Vietnam, moon-landing era. In 1999, learning of her great, great, grandmother’s emancipation from a Georgia plantation, and witnessing the NYC police killing of Amadou Diallo an innocent African immigrant in her Bronx neighborhood, her artistic practice became an exploration of socially relevant issues of identity, race, power, and other social constructs.  Using photographs, objects and collaged digital and mixed media strategies allows Reese to explore, challenge and deconstruct social belief systems considered the norm in modern society. Her practice employs experimental techniques and innovative photographic processes enabling the juxtaposition of often contradictory relationships, and re-constructing them to question and reveal more humane truths. Reese has an active practice, and her works are in private collections throughout the U.S.

neumaaarts@gmail.com    www.kayreese.com

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Chuck Miley
Work exhibited is from two of his series, “Why Reparations” and “Black Lives Matter Martyrs.”

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Onnie Strother
Work from “The Scottsboro Series: An arts meditation on the treatment of African American youth in the legal system,” and “Big Boy Emmitt Till.”

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Oscar Peterson
Work shown is from the “We Too,” flag series.

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