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My research and artwork are focused on the pineapple as a symbol which represents welcoming and hospitality, while also examining issues of access to food, empire, and what constitutes the feeling and or act of being welcomed. Through this research, I have discovered that the tradition of the pineapple as a symbol for hospitality is rooted in slavery and agricultural colonization of South America, the Caribbean, and the Southern United States, in particular, South Carolina and my home state of Georgia. When a new slave ship bringing enslaved Africans docked at the port, the foremen would place a pineapple at the front of the dock to notify a new shipment of enslaved Africans has arrived. This creating the pineapple as a symbol for welcoming. The investigation in the concept of welcoming is also from personal struggles as a black man navigating public spaces and environments and not feeling like I belonged or welcomed. From this research my art practice pulls from my interest in hip-hop culture, history, and science fiction. The artwork references the visual traditions from the Southern United States, Carribbean, South America, and the African continent.
I utilize clay as a historical and creative base material to inform memories of the past. The handling of clay reveals the process and shares the markings of its maker. Ceramics becomes a bridge to conceptually integrate disparate objects and or images for the purpose of creating new understandings and connections with the material, history, and social-political issues. I compare the construction and deconstruction of materials to the remix in rap music and how human beings adapt to different environments and reinvent new identities. These ceramic objects are vessels, each making symbolic allusions to the black body.
The artworks suggest the past, discuss the present, and explores possible futures interconnected to the African Diaspora. While also examining deeper social issues that broaden the conversation between all of humanity.