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Work Samples

INTREPID III (Condensed Excerpt)

Intrepid III Performance, 1:25min condensed excerpt from 13:22min video // "I am, I am, I am, I surrender..." Charcoal on 9ft X 9ft paper, August 2018, Oak Bluffs, MA // Video Documentation of Intrepid III by David Welch

Intrepid I

“Intrepid I” Performance (inside of "Breaking Open" Installation) // "I give thanks" Charcoal on 9’X9’ Paper, Area 405, November 14, 2015 // Performance Video Documentation by Jimmy Powell // Sound: "Sometimes We're Hardly Here" written, spoken & recorded by Natalie Stewart specifically for this performance & installation.

Alchemical Artforms: Tea Ceremony

Alchemical Artforms
This tea ceremony is based in inner alchemy and the transformative qualities of the natural herbs & elements. // Sunset Tea Ceremony at Edna's Home, Sept 2016 // “By holding the intention of peace towards water, by thinking, speaking and acting with the intention of peace towards water, water can and will bring peace to our bodies and to the world.” ― Masaru Emoto, The Hidden Messages in Water

Grounding Ceremony (EXCERPT)

7:47min excerpt from the full 17:21min video. August 2011, Copyright 2018 Phylicia Ghee

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About Phylicia

Baltimore County

Phylicia Ghee's picture
Phylicia Ghee, interdisciplinary visual artist & photographer, was born in Baltimore, MD. Ghee received her BFA in Photography with a Concentration in Curatorial Studies from Maryland Institute College of Art (MICA) in 2010. Taught by her Grandfather at a very early age, her background in painting and illustration began to cultivate a growing interest in experimenting with different mediums. Ghee’s artwork documents transition, explores healing, ritual, ceremony & personal rites of passage.... more

Grounding Ceremony

Grounding Ceremony documents the ceremonial release of my hair, which began with a sacred burial ritual. I begin by digging a hole into the Earth. I enter the hole and I cut each of my locs one by one, until all of my locks have been cut, marking the full release of the past. Hair holds experiences and memories. This ceremony released me from all that I had been holding tightly to at that time. With the release of my hair, so many things were shed from my life. This body of work documents a very vulnerable moment of release and spiritual grounding; it also marks the beginning of my return to my most authentic Self.

Quilts & Fibers

I have always felt a deep intuitive connection to quilting and working with fibers. I taught myself how to quilt a little over nine years ago. In addition to quilting, I work with a combination of techniques, including sewing, bleaching and dyeing fabric. I am currently beginning to explore resist dyeing techniques as well.

I can touch ancestral stories through these shared techniques & art forms that come most naturally to both myself and my immediate family; specifically my Mother & my Grandparents. Ancestral stories arise when I am still, when I am in nature and when I am clear enough to allow visions and dreams to flow through me, uninhibited; almost like a process of divination. When I first taught myself to quilt years ago, my Grandmother was completely on board. She always enjoyed sewing and made her own hand-sewn garments as a teenager. My Grandmother helped me to create my first 6ft by 7ft quilt commission for the Reginal F. Lewis Museum in 2007. It came extremely naturally for both of us, and I later learned that my Grandmother's Mother, Josephine, had been a quilter and had created a few quilts in her lifetime.

There’s much of my family history and ancestry that is still a mystery to me, especially considering that I’ve never met the paternal side of my biological family. There are also very many details about my maternal lineage that have been lost or are yet to be discovered. Much of what I learn comes from pieced together stories from my Gradparents & other living relatives. I also learn through distant memories still carried in my DNA that draw me to the practices, techniques, rituals and art forms of my ancestors.

  • Genetic Memory (Detail)

    Quilt: Genetic Memory
    In this quilt I combine self-portraits, existing family photographs and portraits of family that I have taken with natural fabrics, such as mudcloth and cotton. // "Genetic Memory" Quilt (DETAIL), April 2018; Photographs printed on fabric, my hair (from "Grounding Ceremony"), Mudcloth, cotton fabric & batting, hand and machine sewing, hand quilting.
  • Genetic Memory

    Quilt: Genetic Memory
    This quilt that explores the depth and importance of documenting our own stories while honoring the stories of our ancestors both known and unknown, many of which reveal themselves through the creative process. // "Genetic Memory" Quilt, April 2018; Photographs printed on fabric, my hair (from "Grounding Ceremony"), Mudcloth, cotton fabric & batting, hand and machine sewing, hand quilting.
  • Genetic Memory (Detail)

    Quilt: Genetic Memory
    Through this quilt I explore family stories & histories, with all of their missing pieces and connected dots. I explore the beauty in incompletion and document my own inner journey in understanding impermanence, surrender, death, fluidity, and the infiniteness of the Self as it connects to the fabric of the cosmos. // "Genetic Memory" Quilt (DETAIL), April 2018; Photographs printed on fabric, my hair (from "Grounding Ceremony"), Mudcloth, cotton fabric & batting, hand and machine sewing, hand quilting.
  • Genetic Memory (Detail) - Self Portrait w/ Portrait of My Mother & Grandmother

    Quilt: Genetic Memory
    There are also influences in this quilt from the women of Gee’s bend. I have been deeply inspired by these women and their quilts. I believe I may have some ancestral connection there as well. // "Genetic Memory" Quilt (DETAIL), April 2018; Photographs printed on fabric, my hair (from "Grounding Ceremony"), Mudcloth, cotton fabric & batting, hand and machine sewing, hand quilting.
  • Genetic Memory (Detail)

    Quilt: Genetic Memory
    "Genetic Memory" Quilt (DETAIL), April 2018 Photographs printed on fabric, my hair (from "Grounding Ceremony"), Mudcloth, cotton fabric & batting, hand and machine sewing, hand quilting.
  • Genetic Memory on Drift Wood (Detail)

    Quilt: Genetic Memory
    "Genetic Memory" Quilt (DETAIL), April 2018 Photographs printed on fabric, my hair (from "Grounding Ceremony"), Mudcloth, cotton fabric & batting, hand and machine sewing, hand quilting.
  • Fragments

    Fragments
    "Fragments", 4.5ft X 6ft, 2008 Photography, fabric, photo transfers, hand stitching, bleach, fire.
  • Fragments (Detail)

    Fragments
    "Fragments" (Detail), 4.5ft X 6ft, 2008 Photography, fabric, photo transfers, hand stitching, bleach, fire.
  • Fragments of Connectivity

    Quilt: Fragments of Connectivity
    “Fragments of Connectivity” Quilt (Mixed Media, Photographs Printed onto Fabric, Paint, Hand Stitched) 6ft X 7ft October 2007 (Reginald F. Lewis Museum Permanent Collection)
  • Fragments of Connectivity (Detail)

    Quilt: Fragments of Connectivity
    “Fragments of Connectivity” Quilt (Mixed Media, Photographs Printed onto Fabric, Paint, Hand Stitched) 6ft X 7ft October 2007 (Reginald F. Lewis Museum Permanent Collection)

Self Portraits

My work is informed by an intimacy with Self, and it is created through intuitive self-exploration.

As an empath I also experience the energetic and emotional memory of prenatal & ancestral pain. My own suffering has broken me open. Much of my work has arisen from the desire to release myself from patterns that have lead to suffering and to build new neural pathways that initiate & reinforce healing, so as to not allow these patterns to continue any further through my lineage. My work is about remembering that which is indestructible within myself and reminding myself that this part of me exists.

  • Free Me, Free Us (Excerpt From Series)

    Free Me, Free Us (Excerpt From Series)
    Photograph on Metallic Paper, 15”X 22”, 2017 // My work is about healing myself, those generations behind me and those yet to be born from my own womb. We are all interconnected. I stand on the shoulders of my Ancestors and I am empowered by this knowing. This image is a part of a series including
  • Intrepid III Self Portrait #1

    Intrepid III Self Portrait #1
    A self portrait series taken directly following the “INTREPID III” Performance at Inkwell Beach on Martha's Vineyard for Art on the Vine: Pressure Points. Photography, August 11, 2018
  • Intrepid III Self Portrait #2

    Intrepid III Self Portrait #2
    A self portrait series taken directly following the “INTREPID III” Performance at Inkwell Beach on Martha's Vineyard for Art on the Vine: Pressure Points. Photography, August 11, 2018
  • Intrepid III Self Portrait #3

    Intrepid III Self Portrait #3
    A self portrait series taken directly following the “INTREPID III” Performance at Inkwell Beach on Martha's Vineyard for Art on the Vine: Pressure Points. Photography, August 11, 2018
  • Self Portrait

    Self Portrait
    Self Portrait, May 2010, Photograph on Metallic Paper, 15”X 22”
  • And She Bearing Her Words – Chapter 4, Verse 20

    And She Bearing Her Words
    “And She Bearing Her Words” is a project that spanned a series of months, in which I created a 30ft long fabric piece that served as a diary during my time living in Florence, Italy. // Performance, Fibers (Mixed Media) & Photography, September 2008 – April 2009
  • And She Bearing Her Words -- Chapter 4, Verse 20

    And She Bearing Her Words
    Dressed only in my fabric piece, I walked the streets in my words on my last day in Florence. I climbed over the Ponte Santa Trinita Bridge (Holy Trinity Bridge) to photograph myself on it's supports overlooking the Ponte Vecchio. // Performance, Fibers (Mixed Media) & Photography, September 2008 – April 2009
  • And She Bearing Her Words – Chapter 4, Verse 20

    And She Bearing Her Words
    Dressed only in my fabric piece, I walked the streets in my words on my last day in Florence. This fabric piece had been exposed to the elements, torn, written on, painted, stitched, collaged, dragged and touched by the Florentine rain storms. // Performance, Fibers (Mixed Media) & Photography September 2008 – April 2009
  • Lacerations (Self Portrait Series) - Diptych

    Lacerations (Self Portrait Series)
    This series documents the first time I cut my hair and began my locs. These portraits speak to my experience of emotional pain at that time. The potential of that lashing emotional pain to transition me into higher states of consciousness by dispelling illusion. // 11"X14” photographs, 2006
  • Lacerations (Self Portrait Series)

    Lacerations (Self Portrait Series)
    These images are based on a dream I had. This particular tree is very important to me. I was drawn to it ten years ago and have returned countless times to photograph myself there, for ritual, for prayer and for alone time, especially during major transitions in my life. // 11"X 14" C-Print, 2006

Installations

"Breaking Open"

Three-channel video projection on constructed vinyl screens, fabric & sound. Area 405, Baltimore, MD

During my time as Resident Healing Artist for the New Day Campaign I created an installation entitled "Breaking Open". This installation was an immersive sensory experience in which I built vinyl screens that hung from the the ceiling. On these screens, I projected a three-chanel video piece and covered the floor in a labrynth of fabric. The fabric in the space mirrored the over 100 yard spiral of fabric pictured in the video piece. The sound in this installation fills the space with voices emerging from different areas of the room. "Intrepid I" and "Intrepid II" are performed at the center of this space within the labrynth of fabric, and amongst the three simultaneous projections. Sound for this space included a spoken piece "Sometimes We're Hardly Here" written, spoken & recorded for this installation by Natalie Stewart, as well as various personal stories recorded & spoken by 10 different women & men, surrounding issues of pain, mental health, wellness, self care, connection and human consciousness.

"If A Story Is Seed..."
Soil, 7ft X 7ft, The Eubie Blake Cultural Center, Baltimore, MD

“If a story is seed, then we are its soil.” – Clarissa Pinkola Estés, Ph.D.

Dirt and soil are deeply connected to everything that nourishes us. Soil calls up connection to roots, growth, foundation, history, birth, death and the life cycle. I created a spiral of words in soil covering a 7ft square on the floor of the gallery space. This piece is deeply connected to impermanence, the idea of soil both having a memory and holding the memory & stories of the land (and those who once walked that land). The piece changed over time as the soil dried out during the duration of the exhibition.

  • "Breaking Open" Installation

    "Breaking Open" Installation
    Three-channel video projection on constructed vinyl screens, fabric & sound // Created as Resident Healing Artist for the New Day Campaign at Area 405 for "First the Pain", exhibition curated by Peter Bruun
  • "Breaking Open" Installation

    "Breaking Open" Installation
    Three-channel video projection on constructed vinyl screens, fabric & sound // Created as Resident Healing Artist for the New Day Campaign at Area 405 for "First the Pain", exhibition curated by Peter Bruun
  • "Breaking Open" Installation

    "Breaking Open" Installation
    Pictured here is the completed 9ft X 9ft piece created during the "Intrepid I" performance. Three-channel video projection on constructed vinyl screens, fabric & sound // Created as Resident Healing Artist for the New Day Campaign at Area 405 for "First the Pain", exhibition curated by Peter Bruun
  • Breaking Open (EXCERPT)

    A closer look at the three-channel video projection and installation.
  • "Breaking Open" Video Still

    Breaking Open Video Still
    Three-channel video projection on constructed vinyl screens, fabric & sound // Created as Resident Healing Artist for the New Day Campaign at Area 405 for "First the Pain", exhibition curated by Peter Bruun
  • "If A Story Is Seed..."- BLACKBIRD Exhibition

    "If A Story Is Seed..."
    "If A Story Is Seed...", Soil, 7ft X 7ft // BLACKBIRD Exhibition curated by Alexis Dixon, Eubie Blake Cultural Center, Baltimore, MD // “If a story is seed, then we are its soil.” – Clarissa Pinkola Estés, Ph.D.
  • "If A Story Is Seed..."

    "If A Story Is Seed..."
    "If A Story Is Seed...", Soil, 7ft X 7ft // “If a story is seed, then we are its soil.” – Clarissa Pinkola Estés, Ph.D.
  • "If A Story Is Seed..." (DETAIL)

    "If A Story Is Seed..."
    "If A Story Is Seed...", Soil, 7ft X 7ft // “If a story is seed, then we are its soil.” – Clarissa Pinkola Estés, Ph.D.
  • "If A Story Is Seed..." (DETAIL)

    "If A Story Is Seed..."
    "If A Story Is Seed...", Soil, 7ft X 7ft // “If a story is seed, then we are its soil.” – Clarissa Pinkola Estés, Ph.D.
  • "If A Story Is Seed..." (Timelapse)

    "If A Story Is Seed..." Installation, Soil, 7ft X 7ft , Phylicia Ghee // “If a story is seed, then we are its soil.” – Clarissa Pinkola Estés, Ph.D.

U N F O L D

Unfold documents a metamorphic transition. I worked on Unfold, for a 10 year period.

Unfold began as a cast of my upper body, which I then made into a pregnant form. From there, over the years, the piece would evolve based on life experiences, new understandings and revelations in dreams. During an emotionally tumultuous time in my life, I had a dream that I cut my chest open and took my heart out. From there I seached everywhere for someone who could fix it and put my heart safely back into my chest, but eventually found no one. Upon waking from this dream, I channeled that intensity into this piece, which was still a cast at the time. I mounted the cast to a large wooden panel and cut the chest open.

Over the years the piece evolved. I impregnated the cast with written intentions and words on fabric. I painted it and attached roots and bark. A few months after "Grounding Ceremony" I began to sew up the pregnant torso up with my newly cut locs. As a few more years passed, I opened the body cast again, revisiting and revising those intentions to more positive and life affirming ones. Then I sewed the torso back up using my locs.

It’s final stages of development came as I built a life-sized cocoon attached to a sculptural cast of my “pregnant” torso, sewn together by my hair. I then entered the cocooon, where I spent time in deep stillness. While in the cocoon I wrote words along the inside of its walls with india ink; the drips and painted strokes visibly appearing on the outside surface of this transluscent cocoon. After five hours of being inside of this piece, I (publicly) birthed myself from the cocoon I had created, hand dyed fabric trailing behind me like an umbilical cord.

Not long after birthing myself from the cocoon, I decided to bury the placenta in my yard. The piece is still outside, as the weather & shifting seasons change it daily. Eventually it will fully return to the Earth.

"The butterfly can help you see that exiting the cocoon suddenly opens a new door; that there is power in trust and vulnerability. No more than you, does a butterfly know whether it can fly; but it opens its wings in perfect confidence. It discovers that its delicacy allows its graceful flight; its dance in the air. The power of the butterfly lies in transformation and trust. Caterpillars must trust instinctual inclinations without doubt in order to reach the metamorphic stage. The caterpillar is almost completely dissolved by enzyme compounds within the chrysalis, before it can reform into an adult butterfly. Their whole body must be broken down to completely transform!" ~ "The Incredible Journey of the Butterflies"

  • "Unfold", Installation & Rite of Passage

    "Unfold", Installation & Rite of Passage
    Mixed Media Installation (Earth, Henna, Hair (Locs from "Grounding Ceremony"), Roots, Fibers, Oil Paint, Acrylic Paint, Intentions) and Performance (Rite of Passage), 7ft X 3ft X 5ft, 2006 - June 2016 // The New Day Campaign Event & Exhibition curated by Peter Bruun, The Institute for Integrative Health, Baltimore, MD
  • "Unfold", Installation & Rite of Passage

    "Unfold", Installation & Rite of Passage
    Birthing from Cocoon // Mixed Media Installation (Earth, Henna, Hair (Locs from "Grounding Ceremony"), Roots, Fibers, Oil Paint, Acrylic Paint, Intentions) and Performance (Rite of Passage), 7ft X 3ft X 5ft, 2006 - June 2016
  • "Unfold", Installation & Rite of Passage

    "Unfold", Installation & Rite of Passage
    Mixed Media Installation (Earth, Henna, Hair (Locs from "Grounding Ceremony"), Roots, Fibers, Oil Paint, Acrylic Paint, Intentions) and Performance (Rite of Passage), 7ft X 3ft X 5ft, 2006 - June 2016
  • "Unfold", Installation & Rite of Passage

    "Unfold", Installation & Rite of Passage
    Mixed Media Installation (Earth, Henna, Hair (Locs from "Grounding Ceremony"), Roots, Fibers, Oil Paint, Acrylic Paint, Intentions) and Performance (Rite of Passage), 7ft X 3ft X 5ft, 2006 - June 2016
  • The Creation of UNFOLD : Process Video

    "UNFOLD", Mixed Media Installation (Earth, Henna, Hair (Locs from "Grounding Ceremony"), Roots, Fibers, Oil Paint, Acrylic Paint, Intentions) and Performance (Rite of Passage), 7ft X 3ft X 5ft, 2006 - June 2016
  • "Unfold" - Burying the Placenta

    "Unfold", Installation & Rite of Passage
    Burying the Placenta October 2016 // Mixed Media Installation (Earth, Henna, Hair (Locs from "Grounding Ceremony"), Roots, Fibers, Oil Paint, Acrylic Paint, Intentions) and Performance (Rite of Passage), 7ft X 3ft X 5ft, 2006 - June 2016
  • "Unfold" - Burying the Placenta

    "Unfold", Installation & Rite of Passage
    Burying the Placenta October 2016 // Mixed Media Installation (Earth, Henna, Hair (Locs from "Grounding Ceremony"), Roots, Fibers, Oil Paint, Acrylic Paint, Intentions) and Performance (Rite of Passage), 7ft X 3ft X 5ft, 2006 - June 2016
  • "Unfold" - Burying the Placenta

    "Unfold", Installation & Rite of Passage
    Burying the Placenta October 2016 // Mixed Media Installation (Earth, Henna, Hair (Locs from "Grounding Ceremony"), Roots, Fibers, Oil Paint, Acrylic Paint, Intentions) and Performance (Rite of Passage), 7ft X 3ft X 5ft, 2006 - June 2016
  • "Unfold" - Burying the Placenta

    "Unfold", Installation & Rite of Passage
    Burying the Placenta October 2016 // Mixed Media Installation (Earth, Henna, Hair (Locs from "Grounding Ceremony"), Roots, Fibers, Oil Paint, Acrylic Paint, Intentions) and Performance (Rite of Passage), 7ft X 3ft X 5ft, 2006 - June 2016
  • "Unfold" - Return to Earth

    "Unfold", Installation & Rite of Passage
    Unfold after being outside for 8 months as flowers bloomed in spring/summer // Mixed Media Installation (Earth, Henna, Hair (Locs from "Grounding Ceremony"), Roots, Fibers, Oil Paint, Acrylic Paint, Intentions) and Performance (Rite of Passage), 7ft X 3ft X 5ft

INTREPID 0

Much of my work, including the Intrepid performance series has arisen from my desire to release myself from patterns that have lead to suffering (both for myself and for my family) and to build new neural pathways that initiate & reinforce healing, so as to not allow these patterns to continue any further through my lineage.

Intrepid is an ancestral ritual and spiritual download which came as a vision during my study of dance, molecular relationships, neural plasticity, subatomic particle collisions, and alchemy. Intrepid is about harnessing all of the power within to create an inner and outer transformation. It is about using my whole body to step into the authenticity and timelessness that is my truest state…the gold within myself.

As a meditative and movement based ritual, Intrepid has become a sacred process in which I am using my body on a 9’X9’ piece of paper to write a spiral of affirmations in charcoal that stimulate release and renewal. The spiral is a very important symbol for my family, specifically my Grandfather. My Grandfather is also an artist and has painted spirals all over our family home, so I have been surrounded by spirals for most of my life. In addition to this the spiral is a symbol for expansion, transformation and evolution. As a form of sacred geometry, the spiral can be found both molecularly & galactically. During the time that the vision for Intrepid came, I was studying the work of subatomic particle physicists, who are causing particle collisions, with one of the purposes being to find the creation molecule (Higgs Boson). When these particles collide they create a series of spirals. This was interesting to view collision as a creative act rather than destructive. In addition to this, the use of charcoal is significant because it has gone through the alchemical process of fire, so in being the result of this chemical reaction, it is representative of transformation. Charcoal is also important as a purifier of air and water (our bodies being up to 70 percent water).

My body, never leaving the paper, slowly erases the words of the affirmations I am writing and they begin to cover my skin. In this way I am stepping into my intentions in a very literal way. So, like a Buddhist sand mandala, what I write is ultimately erased, although not completely. The beginning of the spiral of affirmations can still be read faintly. This performance not only challenges me to accept the impermanence of life but also to find and connect with that which is ever present, can never be erased and never dies. Intrepid means brave or fearlessness. Becoming intimate with impermanence through Intrepid was a way to force myself to confront my own fears around the impermanence of life, specifically the lives of my loved ones, especially my Grandparents.

  • Intrepid 0

    Intrepid 0
    “Intrepid 0”, Ritual/Performance & Photography, charcoal on 12ft X 12ft paper, June 2014
  • Intrepid 0

    Intrepid 0
    “Intrepid 0”, Ritual/Performance & Photography, charcoal on 12ft X 12ft paper, June 2014
  • Intrepid 0

    Intrepid 0
    “Intrepid 0”, Ritual/Performance & Photography, charcoal on 12ft X 12ft paper, June 2014
  • Intrepid 0

    Intrepid 0
    “Intrepid 0”, Ritual/Performance & Photography, charcoal on 12ft X 12ft paper, June 2014
  • Intrepid 0

    Intrepid 0
    “Intrepid 0”, Ritual/Performance & Photography, charcoal on 12ft X 12ft paper, June 2014
  • Intrepid 0

    Intrepid 0
    “Intrepid 0”, Ritual/Performance & Photography, charcoal on 12ft X 12ft paper, June 2014
  • Intrepid 0

    Intrepid 0
    “Intrepid 0”, Ritual/Performance & Photography, charcoal on 12ft X 12ft paper, June 2014
  • Intrepid 0

    Intrepid 0
    “Intrepid 0”, Ritual/Performance & Photography, charcoal on 12ft X 12ft paper, June 2014
  • Intrepid 0

    Intrepid 0
    “Intrepid 0”, Ritual/Performance & Photography, charcoal on 12ft X 12ft paper, June 2014
  • Intrepid 0

    Intrepid 0
    Charcoal on 12ft X 12ft paper "I release all attachments, I embrace detachment" // “Intrepid 0”, Ritual/Performance & Photography, June 2014

INTREPID I & INTREPID II - Inside of Breaking Open Installation

Movement and repetition are both important in initiating and reinforcing new neural pathways in the brain. Intrepid speaks to our ability to mold and shift our internal landscapes. Through this process of using the movement of my entire body to step into these affirmations, I am firing, wiring and reinforcing new pathways in my brain. I am healing a past of pain and suffering that goes beyond my own life and bleeds into the lives and stories of my Mother, her Mother, her Parents and beyond. I am healing my own prenatal memory of my Mother’s suffering that has played out in my life in various ways. I am invoking the support of all of my Ancestors who understood the importance of art & ritual in healing. I am rewriting a story recognized, felt and shared by many other women, four of whom I invited to join me in Intrepid II.

Intrepid I was a solo performance within the "Breaking Open" Installation. For Intrepid II I invited 4 women (three of whom were in recovery for addiction at Powell Recovery Center) to join me in creating their own spirals. All four of these women, on their own journey of inner transformation.

Intrepid II opened my eyes to true connection and to the deep power of art to totally transform my awareness. While we simultaneously created our own spiral vortexes, our combined energies, movements and emotions were felt tremendously. Our intentions were amplified and we shared a sacred moment like particles colliding to create something new. This taught me so much and sent me on a deep, painfully transformative journey. A sisterhood formed between the four women and I. All of what I had articulated in the video piece and performance began to manifest in my experience. In addition, one of the women, sadly transitioned less than a month after we shared this ritual together. Needless to say, a lot of grieving had to take place after this experience.

“Every overgrown passion (including addiction and cravings), aggression, and signs of ignorance (including denial and the tendency to shut down or close out) is a seed for inner peace, compassion and openness…Our teacher is not separate from our own experience. My realization is that my fullest potential is here. This is the seed, and the full grown tree, this is where the work is done, on the ground level, this is where acceptance is stepped into… This place of pain, the charnel ground is the working basis for attaining enlightenment.”
~ Pema Chodron

  • Intrepid I

    “Intrepid I” Performance (inside of "Breaking Open" Installation) // "I give thanks" Charcoal on 9’X9’ Paper, Area 405, November 14, 2015 // Performance Video Documentation by Jimmy Powell // Sound: "Sometimes We're Hardly Here" written, spoken & recorded by Natalie Stewart specifically for this performance & installation.
  • Intrepid I Video Still

    Intrepid I
    “Intrepid I” Video Still (inside of "Breaking Open" Installation) // "I give thanks" Charcoal on 9’X9’ Paper, Area 405, November 14, 2015 // Performance Video Documentation by Jimmy Powell
  • Intrepid I Video Still

    Intrepid I
    “Intrepid I” Video Still (inside of "Breaking Open" Installation) // "I give thanks" Charcoal on 9’X9’ Paper, Area 405, November 14, 2015 // Performance Video Documentation by Jimmy Powell
  • Intrepid I Video Still

    Intrepid I
    “Intrepid I” Video Still (inside of "Breaking Open" Installation) // "I give thanks" Charcoal on 9’X9’ Paper, Area 405, November 14, 2015 // Performance Video Documentation by Jimmy Powell
  • Intrepid I Video Still

    Intrepid I
    “Intrepid I” Video Still (inside of "Breaking Open" Installation) // "I give thanks" Charcoal on 9’X9’ Paper, Area 405, November 14, 2015 // Performance Video Documentation by Jimmy Powell
  • Intrepid II

    Intrepid II
    “Intrepid II” Performance Video Still (inside of "Breaking Open" Installation), December 6, 2015 // Phylicia Ghee, Cheryl Ashley, Catrina Caldwell, Karene McLaurin & Karla Benedict. // Performance Video Documentation by Jimmy Powell // Sound: Audio recordings shared by: Natalie Stewart, Amber Carroll Santibanez, Ashley Williams, Anna Davis, Caelyn Sommerville, Cee Cee Ghee (Grandmother), Ghee (Grandfather), Denitra Isler, Karen Ghee (Mother), Kriss Mincey, Missy Smith & Morgan Baker
  • INTREPID II (EXCERPT)

    “Intrepid II” Performance Video Still (inside of "Breaking Open" Installation), December 6, 2015 // Phylicia Ghee, Cheryl Ashley, Catrina Caldwell, Karene McLaurin & Karla Benedict.
  • Intrepid II Video Still

    Intrepid II
    “Intrepid II” Performance Video Still (inside of "Breaking Open" Installation), December 6, 2015 // Phylicia Ghee, Cheryl Ashley, Catrina Caldwell, Karene McLaurin & Karla Benedict. // Performance Video Documentation by Jimmy Powell // Sound: Audio recordings shared by: Natalie Stewart, Amber Carroll Santibanez, Ashley Williams, Anna Davis, Caelyn Sommerville, Cee Cee Ghee (Grandmother), Ghee (Grandfather), Denitra Isler, Karen Ghee (Mother), Kriss Mincey, Missy Smith & Morgan Baker
  • Intrepid II Video Still

    Intrepid II
    “Intrepid II” Performance Video Still (inside of "Breaking Open" Installation), December 6, 2015 // Phylicia Ghee, Cheryl Ashley, Catrina Caldwell, Karene McLaurin & Karla Benedict. // Performance Video Documentation by Jimmy Powell // Sound: Audio recordings shared by: Natalie Stewart, Amber Carroll Santibanez, Ashley Williams, Anna Davis, Caelyn Sommerville, Cee Cee Ghee (Grandmother), Ghee (Grandfather), Denitra Isler, Karen Ghee (Mother), Kriss Mincey, Missy Smith & Morgan Baker
  • Intrepid II Video Still

    Intrepid II
    “Intrepid II” Performance Video Still (inside of "Breaking Open" Installation), December 6, 2015 // Phylicia Ghee, Cheryl Ashley, Catrina Caldwell, Karene McLaurin & Karla Benedict. // Performance Video Documentation by Jimmy Powell // Sound: Audio recordings shared by: Natalie Stewart, Amber Carroll Santibanez, Ashley Williams, Anna Davis, Caelyn Sommerville, Cee Cee Ghee (Grandmother), Ghee (Grandfather), Denitra Isler, Karen Ghee (Mother), Kriss Mincey, Missy Smith & Morgan Baker

INTREPID III

Intrepid III Performance, Charcoal on 9ft X 9ft paper, August 2018, Oak Bluffs, MA

Intrepid documents my own rites of passage as I am confronting and overcoming my fears. Intrepid speaks to my journey to heal myself and return to a sense of wholeness, trust & surrender. In that regard this is a portrait of myself, my ancestors and the larger whole. The 9’X9’ paper holds a story of interconnectedness. A story of who I was and who I became. A story known by many of ancestral pain and fear, but juxtaposed by an ode to the ancestral strength and undeniable resilience that allows for me to be here creating and sharing this work. Along with my affirmations the 9’X9’ paper holds my finger prints and unique markings made by my body. Each time I do Intrepid, I write different affirmations that come to me as I sit at the center of the paper in stillness before beginning the spiral. Intrepid III reads “I am, I am, I am, I surrender, I surrender, I surrender, I surrender…” The remainder of the spiral continues with “I surrender” repeated.

Intrepid III takes place on Martha’s Vineyard at Inkwell beach in Oak Bluffs, which has a rich African American history. During the performance the Inkwell Polar Bears communed in a circle in the water chanting and praying(not pictured in the film). The polar bears are a large group of all ages (originally a small group of black women and men) that have met on this particular beach every summer morning since 1946 to connect, commune, and pray during the morning sunrise hours.

INTREPID III was performed at Art on the Vine: Pressure Points on Martha's Vineyard, and served as closure for Intrepid 0 (2014), Intrepid I (2015) and Intrepid II (2015).

Video Documentation by David Welch
Photo Documentation by Dayo Kosoko

  • INTREPID III (Condensed Excerpt)

    Intrepid III Performance, 1:25min condensed excerpt from 13:22min video // "I am, I am, I am, I surrender..." Charcoal on 9ft X 9ft paper, August 2018, Oak Bluffs, MA // Video Documentation of Intrepid III by David Welch
  • Intrepid III

    Intrepid III
    Intrepid III Performance // "I am, I am, I am, I surrender..." Charcoal on 9ft X 9ft paper, August 2018, Oak Bluffs, MA // Photo Documentation of Intrepid III by Dayo Kosoko
  • Intrepid III

    Intrepid III
    Intrepid III Performance // "I am, I am, I am, I surrender..." Charcoal on 9ft X 9ft paper, August 2018, Oak Bluffs, MA // Photo Documentation of Intrepid III by Dayo Kosoko
  • Intrepid III

    Intrepid III
    Intrepid III Performance // "I am, I am, I am, I surrender..." Charcoal on 9ft X 9ft paper, August 2018, Oak Bluffs, MA // Photo Documentation of Intrepid III by Dayo Kosoko
  • Intrepid III

    Intrepid III
    Intrepid III Performance // "I am, I am, I am, I surrender..." Charcoal on 9ft X 9ft paper, August 2018, Oak Bluffs, MA // Photo Documentation of Intrepid III by Dayo Kosoko
  • Intrepid III

    Intrepid III
    Intrepid III Performance // "I am, I am, I am, I surrender..." Charcoal on 9ft X 9ft paper, August 2018, Oak Bluffs, MA // Photo Documentation of Intrepid III by Dayo Kosoko
  • Intrepid III

    Intrepid III
    Intrepid III Performance // "I am, I am, I am, I surrender..." Charcoal on 9ft X 9ft paper, August 2018, Oak Bluffs, MA // Photo Documentation of Intrepid III by Dayo Kosoko
  • Intrepid III

    Intrepid III
    Intrepid III Performance // "I am, I am, I am, I surrender..." Charcoal on 9ft X 9ft paper, August 2018, Oak Bluffs, MA // Photo Documentation of Intrepid III by Dayo Kosoko
  • Intrepid III

    Intrepid III
    Intrepid III Performance // "I am, I am, I am, I surrender..." Charcoal on 9ft X 9ft paper, August 2018, Oak Bluffs, MA // Drone Photograph of Intrepid III by David Welch
  • INTREPID III (Timelapse)

    Intrepid III Performance, Charcoal on 9ft X 9ft paper, August 2018, Art on the Vine, Oak Bluffs, MA // Timelapse by David Welch

Alchemical Artforms & Ritual Offerings

In addition to my photography, visual art & performance/ritual based practice I offer a series of workshops and ceremonies focused on healing, self-exploration & self-care. For me, accessing my creativity requires that I also honor the deepest, quietest aspects of myself. Self-care is more than caring for self. It is deep, it is self preservation, it is necessary for the success of any and every endeavor.

Alchemical Artforms: A Workshop Series for Women
- Hand Crafted Teas & Herbalism
- Bookmaking & creative practice
- Self-care & Self-preservation
- Self-care boxes & survival kits
- Ritual & Rite of Passage Ceremony
- Daring to Rest Yoga Nidra

D E T A I L S :
Handcrafted Books
Phylicia Ghee teaches the creation of personalized, hand-bound books. Materials are provided for participants to both bind and decorate the covers of their books. This workshop allows the time to process & express emotions, the opportunity to collaborate/interact with one another and the space to be present while expressing one’s self creatively. These handmade books serve as alchemical tools that offer the opportunity to release, affirm, manifest, and process ones emotions; as well as unearth ancestral stories and gain a deeper understanding of self.

Self-Care Boxes

Phylicia Ghee teaches participants to create and use custom Self-Care Boxes. A series of carefully chosen self-care items will be made available to participants. These boxes serve as a companion for each woman, so that as we part ways and continue on our individual paths, we are all equip with tools to center, care for and bring a sense of peace & stillness to lives.

Handcrafted Teas.
We learn to make handcrafted medicinal teas using a series of herbs. We explore the healing properties of each herb and we learn presence and connection through full sensory exploration. We then have a tea pouring, tasting and discussion.

Tea Ceremony.
“Water records information, and while circulating throughout the earth distributes information. This water sent from the universe is full of the information of life...” ― Masaru Emoto, The Hidden Messages in Water
I facilitate a silent tea ceremony in which we create a communal brew in one central cauldron. I play music to initiate the ceremony, and participants are guided through the process of choosing & filling their own tea bags with herbs, then adding those to a communal brew. Prior to the ceremony I hand embroider each tea bag with a word or affirmation so that these messages are also infused into our communal brew. Infusing the hot water with the embroidered words, the herbs and our intentions changes the molecular structure of the water; thus by drinking with intention and attention, we change our own biochemistry and emotional state when we introduce this brew into our bodies during the silent tasting. Words such as “Love”, “Peace” & “Stillness” are literally woven into the bags that house our tea. In this way we’ve also invited our Ancestors into this ceremony through the sacred and ancient practice of sewing & embroidery. This is an opportunity for us to engage in soul alchemy, bringing ourselves into the present moment and connecting with one another through this communal experience. This ceremony uses all elements but focuses on the transformative qualities of water & earth, present in both the tea and in our physical bodies. Since this ceremony is so intricate and involved it is not usually paired with any other offerings.

  • Alchemical Artforms: Tea Ceremony

    Alchemical Artforms
    This tea ceremony is based in inner alchemy and the transformative qualities of the natural herbs & elements. // Sunset Tea Ceremony at Edna's Home, Sept 2016 // “By holding the intention of peace towards water, by thinking, speaking and acting with the intention of peace towards water, water can and will bring peace to our bodies and to the world.” ― Masaru Emoto, The Hidden Messages in Water
  • Alchemical Artforms: Tea Ceremony

    Alchemical Artforms
    The tea ceremony is a sacred & ritualistic way to engage in silence, presence and inner transformation through a dance between the 5 elements and our 5 senses. During this healing experience we will each fill hand-embroidered tea bags with herbs/leaves, while focusing on positive intention and affirmation.
  • ALCHEMICAL ARTFORMS: A Workshop by Phylicia Ghee

    Les Bohèmes The Spirit of The Creatives Retreat, New Orleans, LA // A 5-day recharge & gathering to inspire, create & share in a safe & sacred space amongst kindred spirits.
  • "Trauma, Art & Healing" Tea Ceremony: Washington College

    Alchemical Artforms
    "Trauma, Art & Healing" conceptualized by Peter Bruun was sponsored by the Prevention, Education, Advocacy Center (PEAC) at Washington College and takes place at the college the afternoon of Sunday, March 4. The event features a communal healing experience led by artist Phylicia Ghee with the purpose of addressing trauma head on through spiritual, communal, and ritualistic healing. // The effects of intention & words on water molecules, as shown in Massaru Emoto's extensive research & microscopic photography are projected on a large screen // March 4, 2018
  • "Trauma, Art & Healing" Tea Ceremony: Washington College

    Alchemical Artforms
    "Trauma, Art & Healing" conceptualized by Peter Bruun was sponsored by the Prevention, Education, Advocacy Center (PEAC) at Washington College and takes place at the college the afternoon of Sunday, March 4. The event features a communal healing experience led by artist Phylicia Ghee with the purpose of addressing trauma head on through spiritual, communal, and ritualistic healing. // The effects of intention & words on water molecules, as shown in Massaru Emoto's extensive research & microscopic photography are projected on a large screen // March 4, 2018
  • Alchemical Artforms: BLACKBIRD

    Alchemical Artforms
    A bookmaking & self-care focused workshop for black women, conceptualized by Alexis Dixon in conjunction with her curatorial thesis exhibition entitled "BLACKBIRD". "BLACKBIRD" featured the work of 5 black women artists (including myself) creating work that explores spirituality and its connections to lineage/ancestry, healing, self-preservation, and liberation.
  • Alchemical Artforms: BLACKBIRD

    Alchemical Artforms
    A bookmaking & self-care focused workshop for black women, conceptualized by Alexis Dixon in conjunction with her curatorial thesis exhibition entitled "BLACKBIRD". "BLACKBIRD" featured the work of 5 black women artists (including myself) creating work that explores spirituality and its connections to lineage/ancestry, healing, self-preservation, and liberation.
  • Alchemical Artforms - 614.JPG

    Alchemical Artforms
    A bookmaking & self-care focused workshop for black women, conceptualized by Alexis Dixon in conjunction with her curatorial thesis exhibition entitled "BLACKBIRD". "BLACKBIRD" featured the work of 5 black women artists (including myself) creating work that explores spirituality and its connections to lineage/ancestry, healing, self-preservation, and liberation.
  • Alchemical Artforms: BLACKBIRD

    Alchemical Artforms
    A bookmaking & self-care focused workshop for black women, conceptualized by Alexis Dixon in conjunction with her curatorial thesis exhibition entitled "BLACKBIRD". "BLACKBIRD" featured the work of 5 black women artists (including myself) creating work that explores spirituality and its connections to lineage/ancestry, healing, self-preservation, and liberation.

Portraiture - Selected Sessions

  • RISE of the Phoenix Mermaid

    RISE
    Natalie ‘The Floacist’ Stewart: RISE of the Phoenix Mermaid // Photography & Concept Development - Phylicia Ghee // Garment Design – Phylicia Ghee // Creative Direction – Phylicia Ghee // Garment Construction – Jordan Matthews // Jewelry Design & Creation – Shannon Brown // November 2013
  • RISE of the Phoenix Mermaid

    RISE
    Natalie ‘The Floacist’ Stewart: RISE of the Phoenix Mermaid // Photography & Concept Development - Phylicia Ghee // Garment Design – Phylicia Ghee // Creative Direction – Phylicia Ghee // Garment Construction – Jordan Matthews // Jewelry Design & Creation – Shannon Brown // November 2013
  • RISE of the Phoenix Mermaid

    RISE
    Natalie ‘The Floacist’ Stewart: RISE of the Phoenix Mermaid // Photography & Concept Development - Phylicia Ghee // Garment Design – Phylicia Ghee // Creative Direction – Phylicia Ghee // Garment Construction – Jordan Matthews // Jewelry Design & Creation – Shannon Brown // November 2013
  • Behind the Portrait Session - RISE of the Phoenix Mermaid

    Natalie ‘The Floacist’ Stewart: RISE of the Phoenix Mermaid // Photography & Concept Development - Phylicia Ghee // Garment Design – Phylicia Ghee // Creative Direction – Phylicia Ghee // Garment Construction – Jordan Matthews // Jewelry Design & Creation – Shannon Brown // November 2013
  • RISE of the Phoenix Mermaid

    RISE
    Natalie ‘The Floacist’ Stewart: RISE of the Phoenix Mermaid // Photography & Concept Development - Phylicia Ghee // Garment Design – Phylicia Ghee // Creative Direction – Phylicia Ghee // Garment Construction – Jordan Matthews // Jewelry Design & Creation – Shannon Brown // November 2013
  • Jessica Stafford Davis

    Jessica Stafford Davis
    Creative Portrait Session with Jessica Stafford Davis, Founder of The Agora Culture & Art on the Vine. // Photography & Concept Development : Phylicia Ghee // April 2017
  • Jessica Stafford Davis

    Jessica Stafford Davis
    Creative Portrait Session with Jessica Stafford Davis, Founder of The Agora Culture & Art on the Vine. // Photography & Concept Development : Phylicia Ghee // April 2017
  • Kriss Mincey - Unleash the Beast

    Kriss Mincey
    Kriss Mincey, Singer & Songwriter - Unleash the Beast // Photography - Phylicia Ghee //Concept Development - Kriss Mincey & Phylicia Ghee // Stylng – Phylicia Ghee // Creative Direction – Phylicia Ghee // February 2014
  • Kriss Mincey

    Kriss Mincey
    “Phylicia is effervescent. She is both a creator of moods, and a purveyor of sacred tradition. A griot in the form of photographs. She takes every opportunity to honor what was, speaking directly the client’s journey, and remains mindful of the present moment to deliver quality experiences that are empowering and authentic. Phy has photographed me since my beginning as a singer; and through her wisdom and sheer humanness, Phylicia has inspired only the best in her subject. Phylicia Ghee is the quintessential proof that nothing is untouchable to the human spirit.” ~ Kriss Mincey

Phylicia's Curated Collection

This artist has not yet created a curated collection.