Mickalene Thomas on Black beauty, eroticism and power

New York designer Bec Brittain, known for her sculptural and ethereal lighting creations made from brass and colored glass, recently unveiled her latest exhibition, ‘Strange Days,’ showcasing a return to more tactile materials. The exhibition, a collaborative effort with Alex P White and design duo Material Lust, features Brittain’s ‘Mercury’ installation as its centerpiece. Originally debuted at Design Miami two years prior, ‘Mercury’ has since been in storage and is now being presented in Brittain's newly relocated studio in Manhattan's NoMad neighborhood. ‘Mercury’ (2015) is an all-black design consisting of 35 strands of LED lights intricately woven with obsidian, jasper, and agate beads, culminating in a cascade of leather and suede tassels. Brittain describes this piece as revealing her “dark, moody side.” The installation is configured in a monumental, triangular arrangement, extending from floor to ceiling, creating a captivating and immersive experience within the exhibition space. Brittain personally crafted, knotted, and braided each leather tassel strand, a technique reminiscent of her earlier jewelry collections that featured large knotted rope necklaces and body harnesses, which she playfully termed ‘daytime bondage.’ To complement the atmospheric 'Mercury' installation, Brittain invited friends to contribute works that harmonized with its dark aesthetic. The exhibition includes armchairs by Alex P White, a former lead collaborator with Kelly Behun, and velvet furnishings along with Wicca chic seating from Material Lust. These additions collectively create a mood that is described as decidedly dark and elegant, evoking a sense of pagan spirituality and celebrating forms in dark hues. The overall ambiance is designed to be spellbinding, drawing visitors into a uniquely curated experience. The exhibition, ‘Strange Days,’ provides a platform for Brittain to explore different material palettes and artistic expressions beyond her usual lighting designs. Her decision to feature ‘Mercury’ after a period of storage highlights the piece's significance to her creative journey and her desire to share it in a setting that allows for its full artistic impact. The collaboration with White and Material Lust further enriches the exhibition, offering a cohesive yet diverse collection of works that collectively embody the desired dark and mystical theme. The show is on view until October 14th at Bec Brittain's studio, located at 27 West 20th Street, New York, inviting the public to experience this unique blend of design and art. #BecBrittain #StrangeDays #FurnitureExhibition #LightingDesign #InteriorDesign #AlexPWhite #MaterialLust #NewYorkDesign #ArtInstallation

The article explores the exhibition 'In the Black Fantastic' at London's Hayward Gallery, curated by Wallpaper* contributing editor Ekow Eshun. The exhibition, which is part of a larger series of events at the Southbank Centre, is accompanied by a book of the same title. The show serves as an eclectic examination of Black past, present, and speculative futures, aiming to challenge Western accounts of history and offer alternative narratives. Eshun's curatorial approach emphasizes the concept of the 'Fantastic' as a means of excavating and uncovering reality, rather than escaping it. This perspective allows for the deconstruction of centuries of socially assigned personhood and the creation of new meaning from what remains. Many of the featured artworks emerge from this understanding, positioning Black life as a realm of possibilities rather than solely an interrogation of historical conditions tied to previous definitions of Blackness. The exhibition aims to present new propositions and possibilities of Black self-hood, space occupation, and imagination. The exhibition features a diverse range of artistic mediums, including film, painting, sculpture, and installation. Notably, a selection of films created specifically for art spaces is included. Eshun highlights that these films, unburdened by commercial demands, are able to expand the possibilities and 'spectacular strangeness' of Black existence by venturing into other realms. Artists are afforded a greater license to explore personal interests, drawing from conventional histories, folklore, myth, spiritual traditions, pageantry, and the legacies of Afrofuturism to forge what Eshun terms 'The Black Fantastic.' Among the artists showcased are Tabita Rezaire, whose work 'Ultra Wet – Recapitulation' (2017) is presented, and Hew Locke, whose installations are prominently featured. Other contributing artists include Nick Cave, known for his 'Soundsuit' responding to racial violence; Kara Walker, with her stop-motion animation film on the same theme; Chris Ofili; Sedrick Chisom; Ellen Gallagher; Rashaad Newsome; Cauleen Smith; and Lina Iris Viktor. The exhibition critically addresses the placidity of Western historical accounts concerning Blackness, arguing that the global system often leaves non-Western narratives unexplored. It encourages viewers to engage in internal investigations of how 'Western megalomania,' manifested through global homogenization, has obscured ancient discoveries, counter-histories, and future visions from cultures of the 'global south.' The article suggests that by conforming to Western narratives, individuals may become complicit in what is described as an 'attrition of the archive.' The exhibition ultimately calls for an openness to these alternative perspectives, which can challenge and enrich our understanding of history and identity. #BlackCulture #ArtExhibition #HaywardGallery #EkowEshun #BlackFantastic #Afrofuturism #ContemporaryArt #CulturalCritique #LondonExhibition

The work of photographer and fine artist Nakeya Brown delves into the profound significance of hair in relation to identity, politics, and resistance, particularly within the context of Black womanhood. Her latest series, 'Xpressions: Black Beauty Still Lifes,' offers a nostalgic exploration of the rituals and trends that have shaped Black female identity from the mid-20th century to the present day. Brown's artistic approach involves meticulously pairing beautification devices with a range of historical artifacts, including books, advertisements, and homewares dating from the 1950s to contemporary times. By centralizing Black cultural ephemera in her still life photographs, she investigates the intricate connections between beauty practices and self-identity within the Black community. Brown initiated her exploration of beauty through her personal experiences as a Black girl and woman in 2012. This journey led her to collect numerous objects associated with the marketing and sale of beauty products to Black women. Her current series draws inspiration from these markets, broadly examining the archetypal representations of Black women that are ubiquitous in consumer culture. Brown's images effectively chronicle the significant shifts in hair trends and techniques, often influenced by advancements in hair technology. For instance, she observed a proliferation of wig advertisements in the 1960s and early 1970s. This era saw the introduction of Kanekalon fibers to America, which, due to their low cost, led to mass production and widespread availability of wigs specifically designed for Black female consumers by manufacturers across various states. Moving into the 1980s and through the 2000s, Brown's documentation reveals a marketing pivot towards sew-ins, chemical straightening, and thermal curling. During this period, braided styles were predominantly promoted in the Southern and Tri-State areas of the United States, highlighting regional variations in beauty practices. Beyond just hair trends, Brown's work also implicitly comments on the evolving work lives of Black women in America. By juxtaposing domestic objects with beauty products and marketing imagery, she illuminates the complex interplay between the domestic sphere, the beauty sector, and the experiences of Black women. Brown notes that historically, the beauty industry has offered a path to dignity and self-sufficiency, providing an alternative to traditional domestic work. She emphasizes that Black women have not only defined femininity through their appearance and self-perception but also through their capacity to provide for themselves in an independent manner. In recent years, a significant theme in Brown's art has been the integration of beauty with broader activism. She cites the extensive writings of Tiffany M. Gill and Maxine Lee Craig, which have deepened her understanding of the intersection between political activism among Black women and the beauty culture industry. This academic insight has also informed her decision to feature Black-owned businesses in her work, thereby ensuring the visibility and preservation of this particular strand of history. Brown concludes that throughout history, women have consistently strived to broaden the definitions of beauty, a continuous effort that resonates deeply within her artistic practice. #NakeyaBrown #BlackWomanhood #HairCulture #StillLifePhotography #AfricanAmericanHairstyles #BeautyStandards #CulturalIdentity #Femininity #SocialHistory

Photographer Alex Black's debut monograph, *Scripted*, delves into the complex relationship between beauty photography and societal perceptions, utilizing the visual language of commercial advertising to create a "glossy gothic" aesthetic. Black, a renowned fashion and beauty photographer who has contributed to various magazines and worked with prominent brands like Maison Margiela, Diesel, Tom Ford, and Pat McGrath, leverages her deep understanding of advertising psychology to subvert conventional beauty standards. The book is presented as an opportunity for Black to explore the mechanics of photography and desire on her own terms, moving beyond the commercial imperatives of publications and brands. Black's artistic approach in *Scripted* is centered on deconstructing visual codes to understand what images communicate. She aims to create a duality within her work, juxtaposing high and low, minimalist and decadent, and familiar with foreign elements. This creates a space for critical reflection on how images influence our understanding of beauty. The book features high-gloss images that initially attract the viewer but then challenge them with unconventional subjects. Examples include extensively retouched faces that resemble plastic, a close-up of glossy yellow lips, and a perfectly groomed face with frizzy hair, appearing disembodied in a dark void. These images collectively present a distorted yet compelling vision of beauty. A significant element of *Scripted* is the inclusion of grids that display the same image with subtle yet impactful alterations. One such grid illustrates a red painted nail, showcasing familiar manicure shapes like square and taloned, alongside bizarre ones such as a diagonal line and saw-like spikes. This juxtaposition renders the act of nail painting as a peculiar ritual, highlighting the uncanniness of beauty practices. Another series of six images features an AI-generated face, impeccably perfect and adorned with retro makeup, reminiscent of Barbie dolls. However, its hair is styled into impossible, futuristic shapes, making it appear both old-fashioned and hyper-modern. This blend of eras and styles further emphasizes Black's theme of duality and subversion. Black explains that her project examines how identity functions as a "script" constructed piece by piece, with beauty playing a significant role in this narrative. She suggests that personal choices, such as hair dye, often tap into commercially propagated ideals rather than being purely individual expressions. *Scripted* aims to reflect this complex interplay. Black intentionally portrays the beauty process through objects and remnants that evoke a sense of harshness, even torture. This approach contrasts the inherent discomfort of beauty rituals, like waxing and hair cutting—described by Black as "quite a violent act"—with the softness and lushness typically promoted in advertising. The objective is to create a body of work that simultaneously holds both these contrasting truths. The book effectively captures this duality, exemplified by an image of a long nail adorned with various beauty detritus, such as a smear of cream and a piece of a fake eyelash. This stylized representation of rummaging through a beauty bag and getting messy serves to illustrate that the concepts of "beautiful" and "grotesque" can be synonymous. *Scripted* maintains the visual appeal of aspirational imagery while distorting it into new forms. The resulting effect is compared to a carnival mirror, reflecting a strange yet profoundly compelling image that invites viewers to reconsider their perceptions of beauty. The book, priced at €70, is available through alexblackstudio.com. #AlexBlack #Photography #BeautyStandards #FashionPhotography #CommercialAdvertising #VisualArt #ContemporaryArt #Monograph

The exhibition 'Malware' at London's Pippy Houldsworth Gallery features artist Qualeasha Wood's tapestries, tuftings, and videos, which explore the concept of the digital glitch and its implications for the Black female experience. Wood, based in Philadelphia, focuses on internet malfunctions as a metaphor for vulnerability and change within systems. She merges contemporary digital culture with traditional crafts, translating digital pixels into stitches in her tapestries and creating intentional glitches in her video works through data compression. Wood notes that in the pursuit of authenticity, many fabricated images are produced, and her work aims to highlight imperfection and decomposition as more natural states. Her artistic process also involves incorporating strings of code into her images, shifting the focus from her physical body to its interaction within digital spaces. Wood's work investigates the disruption caused by 'glitches,' interpreting them both as digital viruses and as the presence of the Black female body within established systems. Her webcam self-portraits, in particular, consider the body as a site for both exploitation and resistance. Her interest in these themes began during her studies at the Rhode Island School of Design, where she observed the pervasive influence of social media. She found that online platforms provided a space for conversations about her experiences as a Black woman, which then informed her art. This led to her first tapestry, 'Cult Following,' which likens social media to a cult or religion due to its ability to simultaneously exalt and scapegoat individuals, a duality Wood experienced as one of the few Black students on campus. The artist's personal experiences with doxing, where her personal information was published online, further solidified her artistic direction. These incidents, occurring before she began creating her tapestries, motivated her to reclaim control of her narrative by weaving her own image into her artwork. Wood sees the digital and traditional realms not as opposing forces but as interconnected systems. Her childhood exposure to her great-grandmother's and great-aunt's crocheting sparked her interest in craft and textiles, recognizing their familiar and accessible nature. Similarly, she views computers as integral to her generation's experience, shaping pervasive relationships with technology. She identifies commonalities between traditional crafts and digital systems, both having inherent rules and offering opportunities for exploitation and creative manipulation. Wood employs a computerized loom to create her artworks, which interprets digital files to produce woven replicas of images. This method was inspired by a tapestry depicting her brother and cousins, a gift that demonstrated how images could be woven without strict adherence to stylistic conventions, utilizing scanned and collaged digital images. The most labor-intensive part of her creative process involves sifting through an extensive collection of personal phone screenshots, numbering in the tens of thousands, to select images for recreation. The actual weaving process, conversely, is less hands-on and typically takes a few weeks, often resulting in unexpected outcomes. She describes this as a release of control, relying on prayer for the desired result. As an avid consumer of digital content, with approximately 14 hours of screen time daily, Wood emphasizes the need for rapid artistic production to keep pace with the fast-evolving internet culture. Her use of pixels in her work deliberately moves beyond conventional beauty standards, embracing an aesthetic that is imperfect and raw. She views her tapestries as a 'double-edged sword,' allowing her to control the perception of her body while also being conscious of the voyeuristic gaze it might attract. The glitch, in this context, serves as a symbol of vulnerability, yet it also empowers her by subverting expectations of perfection and femininity, thereby creating a space for artistic expression and exploration. 'Malware' will be on display at Pippy Houldsworth Gallery in London until April 26. #QualeashaWood #DigitalArt #TextileArt #LondonExhibition #PippyHouldsworthGallery #BlackFemaleExperience #SocialMediaImpact #DigitalCulture

Amoako Boafo, a Ghanaian artist, has achieved significant recognition in the art world, transitioning from a rapid ascent in 2019 and 2020 to a sustained career. His work is currently featured in an internationally touring museum exhibition titled 'Soul of Black Folks' and he is represented by prominent galleries like Gagosian and Mariane Ibrahim. Boafo's latest exhibition, 'I Do Not Come to You by Chance,' opened in London, marking his inaugural show in the city. This exhibition not only unveils new paintings but also pays homage to Accra, Ghana, his hometown, and the artistic community instrumental in his success. The exhibition's title is inspired by Adaobi Tricia Nwaubani's novel of the same name. In this new body of work, Boafo delves into his family history, creative journey, and the supportive community around him. The show incorporates installation elements that integrate with the paintings, offering a more intimate look into Boafo's life and story than previous works. It celebrates his friends and fellow artists, including Aplerh-Doku Borlabi, Kwesi Botchway, Otis Kwame Kye Quaicoe, and Eric Adjei Tawiah, along with his personal history. Boafo is renowned for his art, which champions Black joy. His distinctive technique combines traditional finger painting with transfer methods and a portraiture style reminiscent of Schiele. He primarily focuses on portraits of individuals he knows or admires, depicting them with confidence, often smiling or in moments of leisure. These works convey a powerful sense of affirmation for his subjects and carry a discernible political message, operating on multiple interpretive levels. Despite his international career, including training at the Ghanatta College of Art and Design in Accra and the Academy of Fine Arts in Vienna, Boafo remains deeply committed to his hometown. He shares a studio with fellow artists and has expanded his contributions to Accra's art scene through dot.ateliers, a residency and exhibition space. This facility, designed by architect Glenn DeRoche of DeRoche Projects, provides crucial resources and space for local artists in a city with limited public art services. Boafo explains that literature has significantly influenced his work. While he often references novels in his paintings or draws inspiration from them, 'I Do Not Come to You by Chance' is his first exhibition to directly use a book title. He recounts that moving to Vienna prompted him to reflect on his Black identity in a new way, and books exploring the Black experience provided a vital connection. Reading, a luxury he couldn't afford in his youth, later helped him articulate his artistic vision. The novel 'I Do Not Come to You by Chance' resonates with Boafo because it portrays the sacrifices a young Nigerian man makes for his family, challenging conventional notions of good, bad, intelligence, and success. Boafo sees parallels between the book's themes and his own journey as a Ghanaian artist who achieved success to support his family, while also emphasizing the importance of self-care. His London exhibition showcases the evolution of his techniques, backgrounds, textures, and the use of wood grain, featuring some of his largest paintings to date. A central component of the exhibition is the recreation of the courtyard where Boafo first learned to paint. He sees London as an ideal setting to reinterpret this space on a grand scale, leveraging available resources and support to realize this ambitious installation. He views bringing this significant personal space into the gallery, now housing his paintings, as a profoundly special endeavor. When asked about the importance of depicting Black joy, Boafo challenges the pervasive narrative of Blackness being solely associated with pain and suffering. He asserts that his painting is fundamentally about documenting and celebrating Black identity. His primary motivation is to portray people he admires, who inspire him, and who create opportunities. He aims for his figures to exude strength, freedom, and unapologetic self-expression. The recreated courtyard, though not always easy, was rich with life, lessons, laughter, and conflict, where joy emerged through sharing, learning, and recognition. Boafo emphasizes that by showcasing Black joy, he intends to highlight that Black stories encompass intimacy, celebration, relaxation, and play, extending beyond narratives of pain or survival. His collaboration with Glenn DeRoche on dot.ateliers stemmed from a desire to give back to his inspiring community. Recognizing the burgeoning talent in Ghana and across Africa, Boafo sought to create opportunities for artists, hoping to mitigate the perceived necessity for them to seek success in Europe. His continued partnership with DeRoche for the London show felt natural, as DeRoche understands Boafo's vision for blending community with artistic practice and for pushing the boundaries of exhibiting art beyond traditional white-wall presentations. Bringing autobiographical elements, including references to his upbringing, friends, and collaborators in Accra, is a deeply personal yet necessary process for Boafo. It allows him to demonstrate his growth as an artist and individual, while also positioning his culture and history as integral to his journey. He views this sharing as a vulnerable yet strong act, committed to sharing his success and ensuring that those who inspire him are part of this ongoing endeavor. Boafo believes Accra's community-centric approach, where people share space and resources, offers valuable lessons for cities like London. The courtyard installation serves as a reminder for Ghanaians in London of the richness of their heritage and the resourcefulness born from communal living. #AmoakoBoafo #ArtExhibition #BlackJoy #GhanaianArt #LondonArtScene #ContemporaryArt #CulturalIdentity #GagosianGallery #AccraArt #AdaobiTriciaNwaubani

Pharrell Williams returns to the Perrotin gallery in Paris to curate 'Femmes,' a group exhibition dedicated to exploring diverse interpretations of femininity, with a specific homage to Black women. This follows his 2014 show 'GIRL,' named after his album, which also took place at the same gallery. The new exhibition features artwork from 39 international artists, predominantly Black, representing various genders and generations, with many pieces being newly created for the show. The artists include pioneers like 98-year-old Betye Saar and 89-year-old Esther Mahlangu, as well as emerging talents such as Kenyan photographer Thandiwe Muriu and British-Ghanaian-Vincentian painter Emma Prempeh. Renowned artists like Mickalene Thomas and Prince Gyasi, who shares synesthesia with Williams, are also featured. Emmanuel Perrotin, the French contemporary gallerist, explained that the selection of artists involved extensive brainstorming with Williams's team. The artworks delve into themes such as the body, fashion, motherhood, activism, queerness, and spirituality, aiming to challenge historical stereotypes associated with femininity. Despite the complexities of securing all desired artists due to gallery politics, Perrotin highlighted the strength and diversity of the final group. Williams emphasized the exhibition's focus on Black artists, stating that it stemmed from a desire to amplify the voices and visibility of female artists, particularly Black women, whose experiences he believes involve a unique "gravity." The collaboration between Williams and Perrotin began in 2007 through a mutual friend, Sabina Belli. Perrotin recalled meeting Williams at a pool party in Miami, where they immediately connected over art and a shared interest in design. Their initial work together involved designing a chair, spurred by Perrotin's observation of Williams's sophisticated store designs for Billionaire Boys Club. Williams credited Perrotin with helping him recognize his own artistic worth, even as a musician, citing Perrotin's early belief in his future success with songs like 'Happy' and 'Get Lucky.' Perrotin praised Williams's curatorial approach, noting his open-mindedness and lack of pretension regarding artists' fame or recognition. This freedom from conventional art world pressures allowed for the inclusion of many artists previously unknown to Perrotin's team, thereby broadening the exhibition's scope and vision. Williams described his own journey into art appreciation as acquired, learning from figures like Perrotin, and expressed gratitude for the opportunity to engage with and present such talented works. He also reflected on how his role as creative director at Louis Vuitton menswear has profoundly influenced his creative process and overall perspective, viewing it as an "artist's residency." Williams currently considers France his creative headquarters, and Perrotin acknowledged that their long-standing friendship and collaborations have not only changed his view of art but also his perspective on life. The exhibition features a comprehensive list of artists including Nina Chanel Abney, Mequitta Ahuja, Kenia Almaraz Murillo, Malala Andrialavidrazana, Jess Atieno, Seyni Awa Camara, Gaëlle Choisne, Joana Choumali, Theresa Chromati, Kenturah Davis, Alex Gardner, Todd Gray, Prince Gyasi, Leslie Hewitt, Reggie Burrows Hodges, Lauren Kelley, Kapwani Kiwanga, Glenn Ligon, Naomi Lulendo, Esther Mahlangu, Georgina Maxim, Gabriel Moses, Zanele Muholi, Thandiwe Muriu, Zéh Palito, Emma Prempeh, Robert Pruitt, Otis Kwame Kye Quaicoe, Betye Saar, Cinga Samson, Tschabalala Self, Kathia St Hilaire, Tavares Strachan, Henry Taylor, Mickalene Thomas, Chiffon Thomas, Eden Tinto Collins, Carrie Mae Weems, and Kennedy Yanko. #PharrellWilliams #PerrotinGallery #FemmesExhibition #BlackWomen #ContemporaryArt #Femininity #ParisExhibition #ArtCurator #EmmanuelPerrotin

Tyler Mitchell, a renowned American photographer known for his work including photographing Beyonce for Vogue US, has released his first monograph titled _I Can Make You Feel Good_. This book compiles his work from recent years, focusing on themes of Black freedom, leisure, aspirations, and recreation. Mitchell intentionally designed the book to deviate from conventional art book structures, featuring uncaptioned, full-bleed images without a strict chronological or hierarchical arrangement. This approach aims to fully immerse the reader in the world he creates, emphasizing an equal value for each image. The title of the monograph, inspired by a Shalamar song, directly communicates Mitchell's artistic intention and the profound importance of his work. The book includes approximately 100 vibrant, colorful, and saturated images, occasionally interspersed with abstract close-ups and solid color blocks. Beyond the visual content, the monograph features an introduction by Mitchell himself and four essays from influential art theorists who have supported his professional and creative development. Mirjam Kooiman, curator at the Foam Photography Museum in Amsterdam where Mitchell also had a solo exhibition of the same name, contributes an essay that explores the critical significance of Black artists creating and circulating images of Black bodies. Her essay begins with a powerful quote from Frederick Douglass, highlighting the historical use of self-representation by Black American men to demand moral recognition and elicit empathy. Isolde Brielmaier provides a formal analysis of Mitchell’s photography, encouraging readers to consider the power found in everyday moments. Deborah Willis, Mitchell’s former photography professor at NYU, discusses how the absence of certain narratives has motivated Mitchell's creative output. Mitchell's initial inspiration stemmed from images of carefree youth he encountered on Tumblr as a teenager, which depicted young people enjoying themselves without anxiety or stress. He sought to center a new protagonist within this narrative, believing in the power of the imaginary, especially the Black imagination, as a significant force. An interview with curator Hans Ulrich Obrist at the end of the book showcases the fluid nature of Mitchell’s practice, which spans fashion, art, and film. Mitchell stresses the role of imagination in creating new realities and expanding the possibilities for Black youth. The photographs in _I Can Make You Feel Good_ are drawn from Mitchell's extensive career, encompassing work from high-fashion magazines, personal projects, and commissioned pieces. These images transport viewers into a world where young Black individuals can freely play, explore without limitations, and express affection without fear of judgment. Mitchell's vision serves as a comfort against the chronic exhaustion and systemic challenges often faced by the Black community. The characters in his work are genuinely carefree, existing for themselves and their community. Instances include figures relaxing in a yin-yang position with scattered gummy bears, symbolizing abundance, and others dressed formally but at ease on a picnic blanket, suggesting that public rest is normal for them. The book also captures Black youth engaged in nostalgic activities like hula-hooping, dancing, swinging, jump-roping, and skateboarding. While not his first publication, _I Can Make You Feel Good_ is presented as Mitchell's most crucial and beautiful work to date, offering a vision of Black Elysium that merges past, present, and future, providing a much-needed escape from contemporary struggles. #TylerMitchell #Photography #BlackFreedom #ArtMonograph #Utopia #VisualArt #YouthCulture #ContemporaryPhotography

Phoebe Nicol, a Sydney-based interior designer, is known for her unique approach to creating atmospheric, painterly spaces. Her work, as seen in projects like the Clareville Residence and Darling Point Apartment, is characterized by a deliberate use of textured finishes, muted color palettes, and a technique she terms "dirty colour." This style evokes the luminous canvases of J.M.W. Turner, the 19th-century British "painter of light," through interiors that appear to be enveloped in a soft, ambient mist rather than stark brightness. Nicol's methodology for achieving these effects centers on the concept of "dirty colour," a term she learned early in her career from a mentor. While Nicol herself is hesitant to provide a strict definition, her collaborator Lucinda Harris elaborates on it as the "depth and the refraction of light," emphasizing the layering of textures that contributes to a subtle yet discernible variance within a space. This layering allows light to bounce and refract gently, creating a nuanced visual experience. The intention is to move away from interiors that are perceived as "new and shiny," embracing instead a lived-in quality with a sense of history and patina. A key element in Nicol's design philosophy is the strategic application of darkly toned and textural wall finishes. She advocates strongly for materials like lime wash over flat paint, noting the exponential difference these choices make in elevating a project. These finishes are not merely aesthetic; they play a functional role in light diffusion, enhancing the overall mood and depth of a space. Nicol deliberately opts for muted lighting in her project photography, a conscious decision to deviate from the prevalent "bright and light" interior photography style. This approach aims to capture the raw detail and patina of her designs, ensuring that subtle nuances are not lost in overly bright exposures. The goal is to highlight the inherent character and tactile qualities of the materials and finishes she employs. The inspiration for her work, particularly the painterly quality, draws parallels with J.M.W. Turner's mastery of light and atmosphere. Nicol's interiors, much like Turner's paintings, convey a sense of depth and emotion through their carefully controlled light and shadow. This artistic sensibility is reflected in her preference for antique elements and materials that exhibit patina, which she believes convey history and quality. This dedication to "dirty colour" and a layered aesthetic allows her to craft spaces that feel both sophisticated and authentically aged, offering a departure from conventional, brightly lit modern interiors. #InteriorDesign #PhoebeNicol #DirtyColour #TexturedFinishes #MutedTones #LimeWash #ResidentialInteriors #LightDiffusion #PainterlySpaces

This article profiles Chicago-based visual artist Amanda Williams, highlighting her distinctive approach to exploring race, social space, and urban landscapes through the medium of color. Williams, recognized as a future creative leader by architect Frida Escobedo, leverages her architectural training from Cornell University to critically examine how racial dynamics influence the perceived value of spaces. Her work, showcased in prestigious venues like the Venice Architecture Biennale, MoMA, and the Museum of Contemporary Art in Chicago, challenges viewers to reconsider their understanding of built environments. One of Williams' most significant projects, *Color(ed) Theory*, delves into the redefinition of color through the lens of Black culture. This series features eight houses in Chicago’s Englewood neighborhood, all slated for demolition. By painting these neglected structures in specific hues and then photographing them, Williams draws attention to the systemic underinvestment in African American communities. A key aspect of this project is the unique color palette she developed, with each color named after culturally resonant items, places, or spaces within the Black community. Examples include "Pink Oil Moisturizer," referencing a hair product for Black hair, and "Harold’s Chicken Shack," an homage to a popular African American-founded fast-food chain in Chicago. Other colors like "Ultrasheen," "Newport 100s," "Crown Royal Bag," "Flamin’ Hot Cheetos," "Currency Exchange," and "Safe Passage" all carry specific cultural meanings, which Williams notes are immediately understood by members of the African diaspora. This linguistic and cultural nuance highlights the different interpretations and understandings that arise between disparate communities, effectively using color to bridge or highlight these gaps. *Color(ed) Theory* gained significant recognition, being exhibited at MoMA and featured in *The New York Times* as one of the "25 Most Significant Works of Postwar Architecture." Another notable exhibition, *Embodied Sensations*, a solo show at MoMA in spring 2021, explored themes of bodily autonomy and movement within space. Williams conceptualized this exhibition during the global pandemic, drawing parallels between the disorientation and restrictions experienced by the general population during Covid-19 and the everyday physical and social constraints faced by marginalized groups, particularly Black women. The exhibition included a performance piece where visitors engaged with prompts related to movement, further emphasizing the lived experience of navigating restricted spaces. Williams explains that this shared sense of vulnerability during the pandemic allowed her to remind audiences that such limitations are a constant reality for many. Looking ahead, Williams is scheduled to participate in a group exhibition titled *Social Works II* at Gagosian London and will present a standalone booth at Art Basel Miami with Rhona Hoffman Gallery. Her year-long project, *What Black Is This You Say*, which began as an Instagram series during the pandemic, has evolved into watercolors, oil paintings, and public art installations displayed at the Storefront for Art and Architecture in Manhattan. Williams views her work as an opportunity to ask challenging questions about racial inequality and the persistent struggle for existence faced by Black individuals globally. She contends that art, design, and architecture have historically contributed to these spatial injustices, making it imperative to address them through creative practice. Williams expresses optimism about the current moment, believing it to be a crucial period for Black artists and designers to not only be recognized but to thrive. She emphasizes the concept of prosperity, which for her encompasses joy, liberation, and self-determination. This idea is explicitly explored in projects such as *We’re Not Down There, We’re Over Here*, featured in MoMA’s *Reconstructions* exhibition. Through her diverse artistic output—including paintings, installations, and exhibitions—Williams consistently raises critical questions about urban environments, racial undertones, and political issues, asserting that "There is no day when colour isn’t present," underscoring the pervasive nature of these themes in daily life. #AmandaWilliams #ArtAndArchitecture #ColorTheory #SocialJustice #UrbanArt #BlackCulture #ContemporaryArt #RacialEquality