Memories of Braided Lives Series
Memories of Braided Lives series is inspired by the book, Quilt Stories, edited by Cecilia Macheski. This series takes reference from the underlying themes of this book, “… exploring how quilts reflect women’s ways of seeing, remembering, knowing, learning, and expressing.” More specifically, this series explores Marge Piercy, American poet, activist, and feminist, poem entitled “Looking at Quilts.” Memories of Braided Lives series was envisioned from Piercy’s 5th stanza- 2nd and 3rd lines. While breathing life into the words of Piercy’s poem, this series further explores the rich history of quilts depicting stories and remembering the past. Through this investigation, I am examining the present, who a person is now, in comparison to the past, who a person once was. The past and present are intertwined within us, but what version of yourself has been forgotten?
Blossom Series
The Blossom series embodies a message of resilience, self-empowerment, and the transformative power of overcoming hardships. It encourages individuals to embrace their own identities, find strength in their experiences, and continue to grow and flourish.
Remember to choose
Happiness
To not wither
And to
Stand in your
Power
Remember this is a
Choice
One you must
Make
As you begin
To blossom
Remember
It’s okay
To wither
At times but
Know
You will always
bloom
If you choose to
I Know Why The Southern Black Girl Sang
I Know Why the Southern Black Girl Sang, explores the themes of pain, triumph, and exclusion. This piece investigates the work of Degas, specifically his piece, Little Dancer of Fourteen Years. In reviewing this piece, I am exploring the mistreatment of women, objectification, my own experience as a ballerina, as well as classical beauty. I Know Why the Southern Black Girl Sang, is additionally investigating the words of Maya Angelou; pulling inspiration from, “If growing up is painful for the southern black girl, being aware of her displacement is the rust on the razor that threatens the throat. It is an unnecessary insult.” This statement from Angelou, solidifies my upbringing in Georgia. The feelings and notions of not belonging and experiencing code switching. The constant presence of being told, “You’re too white,” “You can’t say that” “You are not black enough,” “can I pull/touch your curls,” and as the only black student in my high school history class, “if the topic of slavery makes you feel uncomfortable, you have permission to step out;” are just a few examples of growing up in a southern state. Despite the constant battle of finding my belonging and navigating the restraints women face, I Know Why the Southern Black Girl Sang, touches on the themes of triumph and allowing oneself to set you free of all the restrictions. No matter the location of your upbringing, as human beings, we have all faced restrictions or even prejudices to some degree. This piece gives all that have faced hardships the opportunity to set yourself free
You Ain't The Boss Of Me I
Field Full of Blossoms
Field Full of Blossoms explores the artist upbringing in Georgia in connection to growing up on a farm. Roebuck is referencing a period of time where she often felt she needed to hide parts of herself; whether that was her identity (being biracial) or the fact she grew up on a farm. This piece is intertwining the fears of prejudice and isolation, and the celebration of uniqueness and perseverance. These themes are depicted in the use of Roebuck’s floral pattern. The rattlesnake plant is symbolic in its reference to camouflage and a hay field, as well as symbolizing the courage it takes to rise above. Field Full of Blossoms investigates the hardship and joys that Roebuck faced growing up in connection to what she continues to face. Acceptance and triumph are ever present in this piece. Further exploring how a person can continue to grow despite all they have faced.
One Must Not Wither Series
One must not wither
But
Decide to
Blossom
To embrace
All of
Yourself
The shattered
The whole
Stitched back together
