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The Experiment Continues

The experiment continues…

The 2 Hands Create experiment is a a blank canvas, source of sanity, support, inspiration and encouragement for all.

Each month over the summer and fall we use the underlying  theme of old wood to present the creators products in a curated atmosphere; offering a unique twist on the popular market theme which is perforating the six.

To promote and hype ourselves up for August we added the  element of live TV

We  linked up with web TV man Hugh Reilly of www.ThatChannel.com for a  “Liquid Lunch”. No libations just spinal fluid bathing our brains.  Erin, our artist Magnet Co-Hosted two interviews one with a special interview with well know Toronto Socio-Political Artist Hollis Baptiste and some of the upcoming August Artists.

Hollis  discussed  his  upcoming photo book,  “Bad Habit”. A   photo compilation of his current and previous art work which will be released this fall.  A subversive exploration of gun violence & consumerism, which offers thought provoking works designed to evoke uncomfortable feelings. A timely contemporary consideration of our times.

While Erin & Hugh interviewed Sau Fann Lee of Quilty Pleasures and  Donna Angella Bartley of DAB Designs who are here for the month of August, I engage the other side of my brain and jetted back to the day job. Ninabana and Aaaron Lozansy, our painterly artists could not attend, so we are aiming to interview them in the upcoming weeks.  Hold the date October 15th night shop into  your  calendar for the launch of  Hollis and his published  book.

Join us next Saturday from 6-10pm @ 503 Queen Street East, meet the artists, &  enjoy  yourself at the hippest, freshest smelling little art shop in Corktown.

Thank you to all the shoppers, Eyze Designs, Twisted Metal in Motion, & Quilty Pleasures for    allowing  me to blend a fresh  environment with our fabrics, art, fashion, jewellery, hammer, nails and spackle!

See you soon.

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The Garage Door is Up

Nothing really happens before its time and I think its time. I am grateful to the artist  creators makers and customers who are into this experiment with me. I have uncovered the secrets of marketing using the technology of  social media. I  have and am meeting very cool artists and neighbours who are drawn to the wide open entrance and last but not least going out to look for more artists at art happenings in the “6”, the TDOT , Hogtown or whatever moniker you have Toronto these days.

Finally the garage door is up and I am pretty excited to have  Erin of Twisted Metal In Motion  Sau Fann of Quilty Treasure  Claire from Eyze  in the gallery with me. I am for thankful  their participation and allowing me to curate the space to incorporate the old wood theme and create the esthetic for the pop up.

As part of creating the visuals of the space I have been slowly but surely building a following on Instagram as the @collaboration curator. Marketers call it building content. Essentially using the preparation, happenings and sales in the gallery  build and share the story we are creating.

It was pretty quiet in Corktown when we  opened July 1st , it was the weekend of Pride and the TD Jazz Festival. As I had hoped and suspected the foot traffic has returned to Queen Street East,  couples with babies in strollers, family visiting neighbours,  couples of sorts, and artists o plenty.

So make your over on July 16th between 6-10p, for our night shop edition The merchandise ranges between $$- $$$.

See you soon

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Call For Artists Application Launch March 30th, 2016

The original business framework of Studio Visuals,  the gallery was based on renting the whole 700 square feet of space to a single artist. That type of buisness model is no longer sustainable in the era of the online store and this morphed economy. Regardless of technology, market research shows that people are still very much interested in  products which they can touch &  feel.  Inspired by other arts marketplaces in the downtown core  who boast of waiting list of artists, we feel there is capacity and a market  for artists to interact in a actual physical space in a  community.  Studio Visuals is  the brick  and mortar space where2 Hands Create.art market space  will be  held.The garage door will open again in the summer and fall of 2016 for  2 Hands Create.

The Collaboration Curators experience of last summer’s pop up shops at Studio Visuals were the catalysts for  2 Hands Create. experiment. Last  summer’s Pop Up Shops expectations of heavy foot trafficked escapades were dashed by the corporate and city planners of the Pan Am Games. While the Pan Am games sounded like a great foot traffic magnet, things did not work out as planned. The cement barriers and chain link fence materialized to keep the athletes from escaping  and  prevented city visitors from exploring Queen Street East between Sumach and River.  Corktown businesses, who had readied themselves for the dilluge of shoppers  were all foiled. It was lonely on our little strip of  Toronto.  All the foot traffic was  diverted into the Distillery District. By the time  the barriers were gone, a cold and windy Autumn was upon us. Not discouraged, the garage door opened for a one day event, the Autumn Light Creative Collective and low and behold the foot traffic appeared. The energy from the neighbourhood and artists was encouraging, supportive and an inspirational stepping stone to 2 Hands Create..  It is the next experiment, taking us on the path to  identifying  a sustainable arts business framework in this new economy.

2 Hands Create. will be looking for emerging and seasoned artists, makers creators and designers from Toronto who would like to submit applications to become a part of our curated market place. We will choose 8 -16 artists & designers to creatively merchandise  and sell Fashion , Fashion Accessories, Home Decor, New Media, Paintings and Drawings created  by your 2 Hands.

If you are an  artist, maker, designer or  creator, we invite you to come together to network, collaborate, encourage, inspire,  support each other &  interact with the community. Explore our call and  apply to participate in our seasonal bricks and mortar  curated arts market space.

The call for artists  will launch on the 2 Hands Create   website  on March 30th , 2016.

The garage door will open again.

 

 

 

Autumn

Autumn Light Creative Collective

It is the summer’s great last heat,
It is the fall’s first chill: They meet

-Sarah Morgan Bryan Piatt

Erin and Sandra had been brainstorming on how to create events in Toronto and unite and collaborate with artists long before I met Erin. Our universes separate yet parallel had grazed one another. My meeting with Erin was serendipitous. 

Sitting side by side as strangers participating in a parent school council meeting. The drone of voices took me to another zone. There I found myself admiring and drawing Erin’ earrings, thinking to myself “those would make a great pair of earrings”.

Art has the power to align like minded spirits, Erin noticed my drawings and initiated a conversation.  As a result Erin the effervescent maker of jewelry  partook in the Corktown Collective Pop Up  Shop with us this past summer.

My draft drawing of Erin’s earring’s long discarded, our universes united, Erin has led me to a new labrynth of ladies creative.

Take in the  beautiful fall collections of Erin’s jewelry designs, Twisted Metal In Motion, Sandra Iannucci’s  clothing design, Gypsy Circus, Daniellle and Szonja’s  Earth & Water Designs art jewelry and body products    & the unique creations of Groovy Drums. 

 Join us in the spirit of collaboration and the beauty of fall and let’s celebrate with the ladies as they present the Autumn Light Creative Collective.

From here on out, the temperatures begin to drop and  the garage door will not open again  before the summer solstice.

So do bundle up and join us at  Studio Visuals, 503 Queen St East, between 12 noon until 8pm on Sunday October 18th, 2015.

See you then

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Exploring Jean Michel Basquiat Art @ AGO

Elly, my 11 year old boy ” I’ve seen that guy’s work in the subway. I don’t like his art. It’s too hectic. I only like the stuff  that looks like a kid did it.”

 

Attracted by the slick subway marketing, I ventured to take in the visual and audio experience of the Basquiat: Now’s the Time exhibition at the AGO. I asked myself, why were Martin Luther King Jr’s words and voice  so prominent in the exhibition? Drugs and money figured extrusively in Jean Michel’s life. Why were his life struggles omitted from the exhibitions subjects  ? I struggled to connect the exhibition’s theme  to the chaotic cerebral spilling’s of  Basquiat’s art.

Money and drugs played a complex role in Basquiat’s existence. As a burgeoning young artist, Jean Michel was furnished with finances, materials, space and collectors. The dreams of every artist, right? Basquiat’s artistic independence soon tarnished as he struggled to quiet the thunder of his critical inner voice and failed to navigate the web of stimulants and his financial benefactors. Basquiat was a young artist living his  dreams. Dreams which materialized quickly and vaporized in a speed ball heartbeat.

Basquiat’s spirit was baptized in the fever of  New York in the 80’s, set against the backdrop of economic recession, materialism, consumerism and racial tensions. He was an experiential soul, seeking a path to celebrity status. Starting out as an anonymously famous graffiti scribe hanging in clubs and playing in bands. Basquiat eventually turned to the visual arts. His compositions contain automatic drawing elements of poetry, self portraits, personalized hieroglyphics, copyright signs, cartoon characters, crowns, jazz musicians & boxing sport hero’s, body parts, slave ships, money, “Krak “and heroin. Basquiat art was certainly a revelation of his psyche. His essential nature was tethered to his need for public expression and acceptance, but certainly not a statement of the American civil rights movement.

Raymond Saunders Portrait of Boxer Jack Jackson 1972

Basquiat’s paintings are vaguely reminiscent of Raymond Saunders Portrait of the Boxer Jack Jackson 1972

Excerpt taken from African-American artist Raymond Saunders, 1967 pamphlet Black is a Colour

Racial hang-ups are extraneous to art, no artist can afford to let them obscure what runs through all art—the living root and the ever-growing aesthetic record of human spiritual and intellectual experience. Can’t we get clear of these degrading limitations, and recognize the wider reality of art, where color is the means and not the end?

 

The link to Martin Luther King Jr. and the civil rights movement was a studious attempt, but too far a stretch for my mind. Jean’s Michel Basquiat’s pantheon of images were representations of the of music he listened to, men and women he admired, his life emotions and experiences. My 11 year knew nothing of Basquiat’s drug use or life challenges. Elly’s ” hectic “comment was an ironic yet accurate interpretation of Jean Michel’s artistic life and times. Elly’s critique was based purely in an extremely intuitive visual perception of the work, not so much in the academia.

Watch the Tamara Davis’ film “The Radiant Child” to explore Basquiat and his art further.

 

 

 

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Arts and Culture in Saudi Arabia

In the 20th century, six thousand and six hundred and twenty nine miles away from home, all forms entertainment were banned including art galleries, movies, live theatres and  public gatherings. Artistic development outside of religion was not encouraged, representation of people and animals was not allowed. Geometric, floral, abstract works and calligraphy dominated the visual arts. Could you imagine a place in the world where contemporary art as we know it was not allowed to be expressed in public?

Post Gulf War Saudi Arabia, a strange and intriguing ancient world. The promise of jobs with tax-free lucrative salaries & free accommodations has lured female medical professionals for years. Our eyes focused on dollars, travel and men, but not necessarily in that order. We gave up our passports, dressed according to the code of orthodox Islam by wearing abayas and covered our faces when necessary. We followed the restriction on women in public. We sat separately in specially designated family sections of  restaurants. Our travel destinations within the kingdom restricted.

Artist Sarah Abu Abdallah is  pushing the boundaries of restriction and expressing sophisticated commentary on the various elements of her highly controlled life. In her video installation “Saudi Automobile”, Sarah toys wih the idea of becoming a self mobile individual. Sarah buys herself a car, albeit a wreck and paints it diligently with light pink paint. Saudi Arabia is the only country in the world which prohibits women from driving. Upon completion of her task, Sarah in her paint splattered abaya; retreats defeated to the passenger seat of her car. A true reflection of the fact that Sarah may never be able to drive in her country.

Our artistic expression consisted of sarcastic memoirs in a collective diary we kept on the kitchen table of our shared villa. Our lives were cocooned by housing  compounds. We traveled in packs and planned our shopping and social trips carefully around prayer time. We ran and hid from Mutawa, the Islamic religious police. They chastised us for exposed ankles and imprisoned us for other non-conforming behaviours. Socializing with men is illegal under religious law. We barely tolerated the religious social order. We created our own social order in gated communities. Ours was a suspended reality, quite different than the reality of  Saudi women around us.

Street Pulse

Street Pulse

The Edge of Arabia, a contemporary art and creative movement has changed the visual arts reality in Saudi. Ahmad Angawi,  a member of the movement relies on his architectural roots to create a spherical structure composed of hundreds of microphones. The interactive giant microphone was placed in various locations around the Kingdom. Participants recorded messages and used attached headphones to listen to messages left by other fellow Saudi’s. “It shows the various voices we have, all confined into one sphere. The idea behind it is, if we don’t speak up, if we remain silent, if we keep putting our feelings aside, one day we will explode,”Angawi said of the piece. “Street Pulse ” which augments the voice of the Saudi public was exhibited during Edge of Arabia’s aptly named art project “We Need Talk”. The show  appeared in cities around the world starting in  2008. In 2012, the exhibition was shown for the first time in Jeddah.

In the 21st century  female Saudi artists are silent no more. Manal al-Dowayan’s  publicly exams the Saudi woman’s social order in her works “Suspended Together” and “The Choice”. These works investigate female status and contemplate the restriction of movement, lack of freedom, and progression of women within the context of the Kingdom.

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Suspended Together

“Suspended Together” a flock of doves hanging from the ceiling appears to convey flight and movement. The paradox of the piece lies in the fact that the doves are adorned with travel documents of female scientists, educators, journalists, engineers, artists and leaders. Saudi women are not allowed to travel alone without travel permission documents signed by their male guardians. The black and white photos in “The Choice” gives the viewer the opportunity to meditate the idea of Saudi women driving, traveling, and voting. The suspended flock and surreal images exquisitely questions the adherence to customs of 1200 years ago.

In the new millennium the Kingdom has seen unparalleled  shifts to a world where challenges are articulated through greater public participation, freedom of expression and protest. During the Arab Spring in March 2011 minor protests broke out and led to the Male Monarchy announcing economic concessions and approval for women’ suffrage in the 2015 male only political municipal elections. Although the Arab Spring has amplified the free voice of the people, it has not eased the strife of Saudi artists to address subjects of political ideologies, criticism of the monarchy and women’s lack of equality.

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Saudi Arabian Art Exhibited in Al Arabia Outdoor

In 2015 the organizers of Al Arabia Outdoor have managed to pull off the ‘biggest art gallery” Saudi Arabia, using 3,400 advertising billboards to exhibit paintings by Saudi artists. I often wondered, how long could the Kingdom adhere to it’s tradition and culture with pride and devotion of the past? The desert kingdom has always been teeming with rich cultural visual art tradition of their nomadic tribes and religion, but new kinds of  expression have started an artistic evolution. Now, imagine a place in the world where contemporary art is just being allowed to be exhibited in public. Are you looking?

( Left to Right ) Brooke Blackburn, Saidah Baba Talibah, Ada Lee, Archie Allenyne, Errol Nazareth

Black Music History @ Toronto’s St Lawrence Hall

On a freezing February Thursday night, my 10 year old son and I braved pelting rain & ice pellets to venture out and take in “Tuning Up” a Toronto Black History month event at the historic St Lawrence Hall. Seasoned vocalist Ada Lee, drummer Archie Alleyne,  blues guitar artist Brooke Blackburn and songstress Saidah Baba Talibah chatted with music journalist Errol Nazareth. It was an exploration of challenges, experiences,  honour and  the due of being a Black musicians in Toronto over the past 60 years.

Errol Nazareth  hosts an early morning music talk show on CBC. He keeps a good pulse on a wide swath of local and international musicians, so black and white photo’s from the CBC archive were a fitting introduction for the evening. Nazareth lead the conversation with the  octogenarian’s and asked the pointed question “What was it like being black musicians in Toronto 60 years ago?”

Ada Lee was born 1931  and started out her early career singing for local Ohio bands with Count Basie and Lionel Hampton.  Ada moved to Canada in the 60’s and spoke of a getting  lots of gigs which she attributed to her good networks and popularity. Strangely enough she could not recall any incidents of a racial nature.  I was a little disappointed that Nazareth did not delve a litttle deeper into Ada’s experiences. He took the opportunity to segway the conversation over to  Archie. His view of the  era was quite different.

Archie experienced racism throughout his early career and spoke of it quite honestly.  He felt supported by the musician’s union at the time, which helped him tackle event managers who did not want to book Black musicians. Alleyne, a self taught drummer  has honoured the stage with  countless big name jazz musicians. In the 60’s and 70’s  he was the resident drummer at the Colonial and Parkside Taverns.  Nothing has stopped Archie to date. At 81 he continues to perform regular gigs and  gives back to jazz community through The Archie Alleyne Scholarship Fund music series “Syncopation”. In 2012 I attended the second edition of  Syncopation; The Journey Continues”  an elegant  musical  tribute  backdropped against a  collection of black and white  scenes  of black musicians and the taverns they played when musicians used to get payed properly for performance.

Progressing to the present  Errol switched the conversation to the young bloods of the panel,  Saidah and Brook.  Saidah Baba Talibah is a  beautiful highly talented songwriter, singer, musician and not to mention the mighty  Salome Bey’s  is her mother. Saidah does not fit the stereotypical expectations of most audiences, for starters the Islamic name and her Afro-punk -style. She spoke poetical of her name and the reaction it can bring about in people. Limited perspective  and audacity have prevented her from getting booked . Imagine some have gone so far and even asked her to change it. Saidah has strong musical  experience and genetics  in the Toronto Black music scene.  “Should be easy right?” Wrong

Brooke Blackburn is a fine lookin’ singing’ and playin’ blues guitarist man.  I am pretty sure I lusted over him or years while eating Pad Thai at the Bamboo.  Steeped in the family tradition of the Black music happenings of Toronto, Brook is the son of Bobby Blackburn. His Dad used to lead the band at the local landmark  club. The Zanibar was a jazz  bar not strip club back t the 60’s and 70’s.  Brook spoke of a perplexing experience in Nova Scotia, where he felt like segregation is alive and well. The event planner loved him and the band, but the club owners were concerned because the music attracted to many black people in the audience. I was riveted by the conversation of the musicians from my generation.  The Toronto music scene has diminished and  grown and at the same time. Gone are the paying gigs and clubs of the past, but technology brings these musicians a global audience.

The evening was embellished  and punctuated with performances of talented keyboard player Micheal Shand,   Ada’s scat, Saidah’s impassioned song of her mother’ dementia and of course Brook whose  guitar  & voice continue to spark me. The cerebral nature of the conversation and music  had Elly drooling and snoring early in the evening. I woke him when it it was time to go.

Elly and I stand protected in the Neo Renaissance doorway.  Built in the 1850’s The St Lawrence Hall was once the main public, political and performance space in Toronto. In the 1850’s the Hall hosted the regular meeting of the Anti-Slavery Society. The North American  Coloured Freemen considered Toronto to be a safe place for anti slavery activities and held a historic convention at the hall in the fall of 1851. A appropriate location for captivating conversation & stories of colour barriers past and presents. Impatiently we wait, watching the gas lights flicker in Victorian lamps at the corner. The 504 King Streetcar can take us home but tonight I flag a cab.

P.S  Black History Note

Cy Mclean’s band was  the first black  band to play on Yonge St. The lot where Colonial Tavern used to stand is now empty.

 

 

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Elusive Icons Black Fashion Dolls 1968-2013

The “Elusive Icons  Black Fashion Dolls 1968-2013” are on show at the Brockton Collective on Dufferin Street in Toronto February 6- 28th, 2014. The word elusive seemed strange to me as I consider the name of the exhibition. Then it clicked, the word elusive has many synonyms, but the one which best describes the black fashion dolls in this exhibition for me is “skillful at eluding capture.” Yes that is how I personally would describe a Black Fashion doll in my life. During my childhood I never had the pleasure of seeing, owning or lusting after a black fashion doll. Seeing all of those dolls perfectly lined up on their own constructed runways at the Elusive Icon Black exhibition, offered me some perspective to reflect on my beauty, colour and identity. The exhibition was a catalyst for collating fragmented memories in my mind of sewing clothing for my big white doll, trying to become a model, watching Julia on TV and coming of age as a Black woman.

Flashback to Manchester, England 1966, where my whole doll history consisted of one doll. I mean sure I would have taken a fashion Barbie if offered, but when I was 6 years old I shared a big white doll with my sister. The doll whose name I cannot remember, but it might have been Gracie, endured and suffered many indignities I inflicted upon her. She was often left her naked on the doorstep, I am pretty sure I wrote on her leg with a blue ball point pen and most certainly I cut her hair off until there was none. I often cried in regret and chastised myself in front of the doll. I never really gave much thought to the doll’s skin colour, she served my purposes. My sister and I were much more interested in dressing her up and posing her for tea parties. My mother was a seamstress by occupation. She designed and created clothing for us. She designed a yellow lace princess dress and tiara for me. I was the pretty and beautiful “coloured girl” when I won the  “All Saint’s Eve” costume contest in my dress. Our mother taught us to layout the pattern on newspaper and make dresses for our doll. Looking back in retrospect, my mother being very  practical and utilitarian had purchased the big doll  to use as a mannikin while teaching us how to sew. Barbie had nice clothes and accessories, but really it would have been tricky for us tto make a dress to fit that little body and skinny waist.

The first black fashion doll “Francie” appeared in America in 1967 and I feel pretty confident Mattel did not export her into Canada. I could be wrong and would appreciate a correction if one is necessary. In 1968, our family was one of two black families in Elliot Lake.The big white doll from England came with me. Here I received my first exposure to racial prejudice I quickly came to the realization that the colour of our skin  did matter. You see the white people in that town would bring fabric to our house and my mother would  design and sew  whatever they wanted. Those same people would not allow her buy real estate downtown to expand her business.The experience  through my mother eyes was just the beginning.

That spring as a bewildered 8 year old, I watched the assassination of Martin Luther King on the black and white TV. We moved to Toronto in 1968 and shopped at Honest Ed’s.  Ed had quite the toy section, but I never saw a black fashion doll there. No Black history month or African anything education going on in the Canadian  school system. I looked forward to watching Julia.  on TV. As an 8 year old I was peripherally aware of civil rights movement in America, but I had no idea that Black was the new colour in media, music, fashion and visual arts.

British fashion photographer Patrick Litchfield photographed Marsha Hunt naked, beautiful and black with a Afro hairstyle for the 1969 issue of Vogue. Marvin Gaye was at the top of the charts with “I Heard it Through the Grapevine”. James Brown recorded” “Say It Loud, I’m Black and I’m Proud”. Textile artist Jae Jarell,  a member of Afri-Cobra made “The Revolutionary Suit.” Model Naomi Sims was the first African American model to grace the cover of a magazine, Life Magazine in fact. On television, a widowed African American nurse was raising her son by herself on the weekly sitcom Julia. Mattel manufactured the Nurse Julia black fashion doll. Nurse Julia she was the first uniquely black head sculpt and all the Barbie’s clothes fit her. Prior to Julia, Francie, was just a black version of a white doll. Although Francie had the right tone, Julia carried the black facial features.

The observation and investigation into black fashion dolls has lead me to reflect upon my own perspectives of race, beauty and identity.  In  1977, I was 17. My sense of fashion was strong and my self confidence high. This self awareness accelerated my determined career chasing and propelled me to dream about becoming a model. I mean there was a black woman with her own TV show right? I worked to get a portfolio together and I entered contests. I always came away feeling that I was not beautiful enough to win. Only the white girls, I would never make the cut. Was it the freckles? I began to question my beauty and my colour. If I had seen a black fashion doll in the 70’s, she would have given me hope that I could have made it the fashion world.

My internal metamorphosis and solidification of my colour and personal beauty took hold when I started going to Jamaica with my girlfriend’s in the 80’s. I could see my beauty in the black people I was surrounded by. Jamaica has all kinds of mix-up business going on down there. Chinese mixed with Black mixed with Indian mixed with White, all colours and shades. My great grandparents on my father’s side came from India to Jamaica in the 1800’s and my mother was the  descendant of West African slaves and Scotsmen. I blame Scotsmen for the freckles. I could turn heads, Jamaican men and women called me “Browning” in a sexy come hither kinda way. I am always surprised when white people say “Your not really Black are you?” Let’s just say if you had to colour me in with crayons from the Crayola pack, you would choose beige with brown polka dots. My features and colour do not define me as a Black woman. I am a Black woman because of my heritage and my life experiences

Harris’s fashion doll collection represents women inclusive of all the colours of “black” on the spectrum. The exhibition catalogue depicts lavish scenarios where Harris has posed his handcrafted black fashion doll to accentuate her voluptuous Venus body.Frantz has taking the time to eliminate joints and has sculpted her 16 inch pliable silicon curvaceous body with very complex internal rod, spring and wire skeleton. He has created her smooth skin black as night and light as day. He has designed fetish heels, sewed wicked fancy pants and glamorous dresses in fine fabrics and coiffed her hair perfectly.  Frantz has created an evolution in his black fashion collectible doll and I think they are underpriced.  Observing the dolls reflected a visual representation of the various fashion stages of my life. The princess gown, big afro, the braids, the blond low afro, the hot pants, the maxi coat and the mini skirt. I did not need a black fashion doll, I am the black fashion doll in my life. The elusive icon is not so elusive after all, Harris has managed to capture her quite skillfully.

On a side note. I recommended that you take in Jamie Fox’s short film “And She Was My Eve. The film was created as part of the the Canon Imagination Project. Fox’s film is a great fantastical sci-fi extension and  pairing for this exhibition.

 

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Join the Flower Bomb Movement

Miami Beach based graphic designer, Arlene Delgado and integrated media specialist Diamari Torres have been dropping F Bombs, and those would be flower bombs.

The Flower Bombs Project is a guerrilla art movement which explores the karma and power of public art through positive messaging. The symbol of the flower growing out of a bomb represents beauty in unexpected places — which is what street art is all about.

The idea is for any person to come across a Flower Bombs poster and for it to speak to them, empower them, and lift their spirits.

In a world where we are constantly bombarded with advertisements of the media, sometimes against our will, it is nice to come across a design that isn’t trying to sell us anything; something that serves as a balm to our spirit and that speaks to us on a non-consumer level.

The goal of the project is to fill the world with positive affirmations through beautiful non-commercial design for no reason other than to make people feel good and to help them manifest positive life changes. We imagine a world where people are surrounded by more beauty and art than consumerist messages.

By using environmentally non-acidic wheat paste, which is easy to remove and breaks down naturally overtime, to post their messages; they are spreading the feel good balm in a way that is non toxic to the environment.

You can be a flower bomber too and spread the good word in your city, and are encouraged to do so as the posters are available for download on their site The Flower Bombs . Or you can submit your own designs.