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MANY ROOMS: The South Got Something to Say

Many Rooms:

The South Got Something to Say

written by Sharbreon Plummer, Ph. D.

"The Deep South is a region brimming with beautiful and complex histories that remain a key factor in the evolution of its contemporary landscape. It’s visual and material cultures, albeit haunted by a bevy of colonial remnants, continue to be deeply influenced and informed by Black life and creativity. From the foodways that comfort our souls to the rhythms that capture the depths of our pain and pleasure, many of these artifacts were birthed by the hands of communities that were forced to make the best of a new, foreign homeland.

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Louisiana, in relationship to other Southern states, possesses its own unique cultural richness that has often faced its own challenges in terms of misrepresentation, especially for its Black residents. Mainstream media has continued to play a role in the state’s external perception, mainly centering its own varied understandings of (often stereotyped) monikers such as “cajun” and “creole” that erase a multifaceted understanding of the lives of Black culture bearers.

As a result, residents are often faced with re-educating outsiders on what it truly means to call Louisiana home. In the same manner, Black residents who occupy less referenced areas outside of the I-10/I-12 corridor are placed at a site of double erasure. Residing in cities that are less connected to major tourism narratives and attractions, combined with the everyday politics of being Black in America presents an ongoing battle for visibility and acknowledgment.

Thus, the Black Creatives Circle of North Louisiana asks viewers, both native and non-native, to consider what stories anchor contemporary Black life in their respective regions? What does it mean to center Black authorship and creativity that connects to the lore of the South and challenges erroneously compartmentalized beliefs around Black existence? Many Rooms: The South Got Something to Say draws from the Biblical scripture John 14:2, which states, “There are many rooms in my father’s house,” to offer an intimate look into four artists’ interpretations of the concentric nature of the lives, dialogues, and musings of Black people in Monroe and the South at large. K’shana Hall-Davis, Drék Davis, Benicia King, and Vitus Shell present works that range from autobiographical to seditious in nature, many of which require one to deeply examine what symbolism lies beneath the deeply colorful and richly layered surfaces. Most importantly, this exhibition showcases the talent and potential of Black creativity that endures within the city of Monroe.

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K’shana Hall-Davis calls to the forefront a need for care and restoration for Black women in a world that demands the continued extension of their physical and emotional labor. Black women have historically been subjected to innumerable stereotypes rooted in hyper-sexualization, misogynoir, mammification, and the myth of the all-serving superhero. It Shouldn’t Be Revolutionary presents counternarratives rooted in ease, gentleness, and boundaries that affirm self-determination and autonomy over how Black women care for themselves and how others should follow suit. Hall-Davis’s lapis-hued canvases feature repetitious symbolism that is almost meditative in nature; a nod to the practice of mindfulness and grounding oneself in the present. Her works critique a society rooted in white supremacist capitalist patriarchal values by proposing and prioritizing ease for those most subjugated.

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Using three distinct approaches, Drék Davis contemplates the gravity of surviving as a person of African descent in America during the 21st century. Drawing upon references from hip-hop culture, diasporic practices, and American iconography, Davis’s three series address a multitude of perils that terrorize Black communities such as  displacement, self-efficacy in the face of oppression and existing as “other.” Inspired by Redman’s “Wuditlooklike,” Davis’s black and white Rorschach-esque prints place viewers in the role of interpreter, asking that they ascribe a meaning to the imagery in the present, while also predicting what they reveal about the future. More specifically, we are asked to consider what role the past and present play in ensuring survival for Black life in years to come. The works featured in his Vweto (gravity) series reflect on the irony of American democracy and patriotic idealism, presented through the imagery of the American flag. The imposition of text from the Declaration of Independence upon an ambiguous Black figure sheds light on the hypocrisy surrounding how equality is defined within our nation and who truly benefits from it. Similarly, Davis’s collaged works solicit introspection from viewers, especially those who identify as Black, asking that they contemplate what shapes their ideologies and self-perception. What factors impact the conscious and subconscious mind, and how do those thoughts (for better or worse) manifest outside of oneself?

Benicia King’s photographs beautifully capture Black quotidian life through poetic imagery inspired by her familial ties. The granddaughter of a Baptist reverend, King uses Church Attire to pay homage to the veneration and regality that she ascribes to her fellow churchgoers. In King’s works, church transcends beyond a place of worship into a space for self-expression and exploration through color, shape, and form. From the meticulously coordinated suit separates to the ritualistic white garments that accompanied communion Sundays, King honors the adornment practices that she carried throughout her life and career outside of her hometown. Moreover, her works acknowledge centuries of Black self-determination and care practices that were able to endure even the harshest conditions. She reminds us that our ties to our kinship are ever enduring and have the power to transcend time and space, evolving as we do.

Simply put, Vitus Shell paints and presents Black bodies as subjects to be honored and respected. He unapologetically infuses his work with elements of popular culture, Southern hip-hop, and Black cultural symbolism, challenging notions of respectability and tradition in his approach to portraiture. His seven new works are an inquiry into what it means to fear and revere Black life. Nipsey Blue and New Her both incorporate the use of “Nipsey Blue,” a hue referencing the late rapper Nipsey Hussle. In utilizing this color, Shell examines the staying power and impact of Black creative talent in both life and death. Experimentation with color continues into Riding Dirty, where he examines how gang culture is manifested both within the Black community and outside of it—specifically within law enforcement. This work reveals the opposing definitions that exist for community and its impact on how protection and loyalty manifest. Ownership critiques the idea that Black wealth acts as the key to liberation for Black people. Thus, he asks viewers to question wealth’s true utility in a system that is historically rooted in exploitation, theft, and oppression. Continuing the thread of policing Black bodies, Ice Cream Man alludes to how White fear and anxiety dictate how others attempt to exert control over Black communities."

Sharbreon Plummer, Ph. D.

Dr. Sharbreon Plummer is an independent consultant and creative practitioner whose work lies at the intersection of art and equity. Her praxis is a combination of her lived experience, artistic practice, research, and 10+ years of experience in arts and community-rooted settings. She is the founder of AYA Thought Studio and also serves as an Adjunct Professor in the University of Houston’s M.A. in Arts Leadership program.