'Empres-sion' is a portmanteau that combines the words 'empress' and 'impression.' This concept illuminates the activism stories of Black women from the African Diaspora and invites us to engage with broader narratives around the spiritual. It encourages us to reflect on our own place and space within these narratives while allowing us to connect with individuals who possess different worldviews but share similar ideas. Empres-sions manifest in my work as an imprint left in our ontological thinking in a way that highlights my framework around Black Artistic Thought.
 

Childlike 'inno-sense' is a piece that incorporates our childhood experiences in a way that gives us the freedom to wonder and explore the world through our sensory experiences. By reflecting on our childhood memories, we can explore overlooked facets of our lives where we may have had spiritual encounters with the divine presence but repressed them as a way to assimilate into culture. However, by considering childlike 'inno-sense' in contemporary thought and the way we think about the spiritual in art, we might come to understand that our childhood experiences, which infused experiences with an ‘unknown’ presence, were our first calling to get in touch with the sensory experiences of our “inner emotions” (a reference to Wassily Kandinsky’s work).

Miss-Education is a play on the term ‘miseducation’ from Lauryn Hill’s debut solo album, The Miseducation of Lauryn Hill (1998). By changing the word ‘mis’ to ‘miss,’ we interpret it in two different ways: first, as a neutral salutation addressing women, and second, as the omission of something we may have overlooked, such as the omission of contributions made by Black women to art and contemporary thought, often overlooked over decades. Miss-Education, examines different patterns of philosophical thought as we work to emancipate the mind from the exclusion of Black women artists in contemporary thought.

In this regard, miseducation illuminates aspects of the spiritual, including but not limited to the stories, memories, and experiences shared among African Diasporic peoples who receive messages from their ancestors. Ofosuwa Abiola, in her work "History Dances," reminds us that “the past is an integral part of identity and a crucial element in the development of a society. The past is not only preserved in written sources but also in the minds of people and the objects and types of societies they create.”

Black Artistic Thought encourages a shift in thinking, liberating individuals from viewing the past as a burden and instead encouraging its embrace as a source of liberation and a world of possibilities. Abiola’s insights, as reflected in Black Artistic Thought, emphasize that the past permeates in all that we do. Consequently, the spiritual, in its varied forms, can manifest in our daily lives. Black Artistic Thought as a framework facilitates an understanding that spiritual experiences are not confined to either the material world or immaterial realm alone but are interwoven in both, in a way that enriches our holistic human experience.

explores how dismantling systems of ideological truths opens the path to rediscovering the 'wilderness within,' an intrinsic connection to the human spirit. This concept reflects the importance of decolonizing the mind as a means to shed layers of influence that hinder authentic self-awareness and a deeper connection to the broader human experience. The process invites a reassessment of formative messages and experiences, distinguishing harmful colonial influences from genuine beliefs and identities. Through this journey, the innate spiritual connection is recovered, bringing forth a renewed sense of purpose and authenticity.

Looking helps us see the divine in every facet of our lives. This work speaks to a daily practice that reveals how invisibility and visibility stem from various cultural experiences, collective thoughts, and social justice movements. In essence, it helps us see how we are all interconnected and constantly evolving, expressing ourselves in countless ways. Our connection to a divine source, higher power, or the concept of God reaches beyond philosophical discussions and embeds itself in different areas of our lives.

Enlightenment is a piece that invites individuals to open themselves to the wonders and joys of revitalizing the human spirit. It speaks to the idea of freely expressing the spiritual in any form that resonates, whether it be God, the divine, the creator, the universe, or any other connection that allows one to reach spiritual consciousness. It’s about seeing ourselves in a new light and embracing the sense of fulfillment that comes with doing so.

Children show up in my work to remind us of their importance to our future. I have spent years sitting and listening to my boys as they use their imaginations to come up with some of the wildest thoughts (sometimes I laugh in silence). My concept of childlike 'inno-sense' was inspired by them. Through this inspiration, I developed childlike 'inno-sense,' which is about rekindling dormant aspects of childhood experiences, offering the potential for revitalizing the human spirit. This revitalization does not imply that the human spirit has been extinguished or dormant but rather signifies a reawakening and liberation from the suppressing structures, granting autonomy.

In this context, autonomy refers to the human spirit’s capacity to exercise its freedom, often constrained by various systems of domination that dictate what we can't do and control how we "should" act. The concept of childlike ‘inno-sense,’ proposes a revitalization of the human spirit through rediscovering wonder, curiosity, and innate creativity within our individualized experiences. The implementation of childlike 'inno-sense' into our thinking provides an approach to challenge the limitations imposed by external systems. It brings about ideas behind 'spirit-literacy' as a methodology that offers a new lens to experience various kinds of freedom of expression.

To grasp my notion of 'spirit-literacy' is to witness how it transcends reading and writing; it is a visceral language of feelings and emotional encounters with different aspects of our existence. Being open to this idea allows us to access the spiritual not just in theory but in real time. In short, childlike ‘inno-sense’ is about taking a step towards changing our thinking, if just for a moment, to reflect on the innocence of a child’s exploration of wonder. In that moment, some of us just might find peace— a "peace that surpasses all understanding" :)

Piece Be Still asks the viewer to grasp what is happening in the image as the background vibrates. Since the viewer cannot make the background stay still, it invites them into a space of wonderment. This is place of wonderment can be a space where the viewer stands silently reflecting on whether it might be possible to keep the piece still. In doing so, it shares a spiritual experience. Utilizing Black Artistic Thought, I use this piece to illustrate how my subjects confidently take up space in the world. This aligns with bell hooks' perspective in Sisters of the Yam, where she reflects on how Black women offer radically different images of themselves in revolutionary ways. She elaborates on the ways Black women are presenting themselves as self-empowered subjects by using multiple platforms as interventions to show how they are using writing, film, video, and art. The amazing thing about sharing our work through these platforms is that we get to create our own narratives about how we want to show up in society.

Cut from white paper with light filtering through a digitized background of pastel hues, this piece invites viewers to reconsider who can be deemed royal. Through the framework of Black Artistic Thought, the crown symbolizes spiritual alignment, representing a journey that requires patience, resilience, and care in cultivating a divine connection.

For me, the crown reflects this young girl's power to rewrite history and her right to create the supernatural, whether as a reflection of God or herself as a divine presence. It stands as a symbol of revolutionary narratives of survival within the African Diaspora, stories often sidelined in mainstream conversations. Her connection to royalty is spiritual, embodying the resilience and brilliance of those who have endured and thrived.

Flames depicts the fire within us that ignites the spirit and brings enlightenment. This piece reflects how fire lights up the world but, in the innocence of childhood, does not come to destroy. My thinking is inspired by David Driskell's teachings on spirituality and its connection to a "divine Creator," which bring immense joy to my soul. In one interview, Driskell shared, "I feel like I am an extension of God's playful act here on earth. So I move around bathing my own soul in joyous forms." His focus on forms creates a space for experiencing limitless spiritual connections, where, as he says, “the otherworldly is also earthbound; the common expresses the spiritual.” Through Flames, I express my gratitude for the many ways I get to play here on earth, too

Unbothered reflects the grace and blessings that God has bestowed upon us, enabling us to touch others through our thoughts and prayers, even when they are unaware of the care being extended to them. This piece embodies the resilience and inner calm that come from spiritual connections that help us navigate challenges with peace and confidence, knowing that nothing can hinder us from fulfilling our destiny.

Through the lens of Black Artistic Thought, Unbothered represents the quiet strength and humility passed down through generations. It draws upon the spiritual wisdom and ancient secrets gifted to us by our ancestors, creating a space to honor their legacy. This work illustrates how, even in the face of adversity, we remain steady, sharing peace and light with others. In a way, Unbothered invites the viewer to embrace a mindset of grace and gratitude, illuminating the transformative power of art to uplift and inspire us in ways beyond imagination.

Peacefulness depicts a girl in deep thought, her eyes closed, her face at rest and in prayer. This work reflects the way I create pieces that invite us to receive spiritual gifts through a vision beyond the physical, manifesting the artist's intention to bring the work to life. Peacefulness embodies a spirit of serenity and grace, offering the viewer a moment of stillness and reflection. It is my hope that this piece not only brings a sense of calm but also inspires viewers to carry that peace within themselves, brightening their own light and sharing it with others.

This black-and-white paper cut image of a pregnant woman, looking to the right with long, twisted hair flowing down her back, invites individuals to embrace the unknown in a space where gifts can grow and flourish in a world of possibilities. Centering the woman as the focal point draws the viewer's eye to the seriousness of caring for the seeds we have sown, nurturing them as they grow. The ray of light in the background radiates from within her, symbolizing how sunlight shines on us all. The light serves as a metaphor for hope and the power of creation, while the pregnant figure embodies the act of carrying our gifts and the ongoing journey of nurturing our future. Part of the 'Birthing a Gift' series, this artwork reflects the idea that we are all capable of birthing a gift.

This black and white paper cut features a pregnant woman, facing left with her hand resting on her back, holding herself up. She is centered in the composition, inviting the viewer to reflect on the idea that we all carry seeds of potential, celebrating the unexpected gifts we possess, even if their full value has yet to be recognized. The woman's posture symbolizes the strength and resilience required to nurture the gifts we carry. A ray of light in the background radiates from within her, symbolizing how sunlight shines on us all. This light serves as a metaphor for hope and the power of creation, while the pregnant figure embodies the act of carrying our gifts and the ongoing journey of nurturing our future. Part of the 'Birthing a Gift' series, this piece reflects the idea that we all have the ability to bring something meaningful into the world, even before we fully understand its significance.

Much like the black walnut tree, which stands tall and firm, bearing fruit after years of growth, this piece, Woman of Wisdom, carries the knowledge of time and experience. Her strength, like the walnut’s hard shell, guards a rich history inside, unveiled through the paper cut design etched into her forehead. This intricate design mirrors the interior of a walnut, revealing wisdom, like the hidden secrets she possesses. The paper cut’s intricate patterns reflect how each of us holds our own distinctive story and wisdom. Just as no two walnuts are the same, no two lives or experiences are alike. This wisdom contributes to the greater whole and marks the experience of what it means to be human.

Prayer for Humanity is a papercut that embodies hope and collective strength. With a hand raised in prayer, the figure holds a ray of light, symbolizing the power of unity and spiritual connection in times of need. This design reflects the sacredness of human experience and the prayerful desire for healing and peace for all. This piece speaks to the idea that there is somebody in the world still praying, believing, and knowing that miracles happen. Although these prayers are silent in nature, they reach the heavens, sweetly knocking on the doors like a savory sound of music to one's ears, ready for a response yet patiently waiting to be answered.

This paper cut, entitled Play that Music, represents the innocence and pure joy found in childhood, much like in other pieces of my work. As the young boy faces to the right, the trombone’s sound flows through swirling patterns in the background, symbolizing the calming power of music. The swirls move like a cool breeze, guiding us into a trance-like state where we are carried by the rhythm of the sound. In times of trouble and storm, music offers a soothing presence, like a mama's hug, bringing peace and calm to the soul. The boy’s playful demeanor, paired with the flowing swirls, reminds us that even in the chaos, there is harmony to be found when we allow ourselves to be enveloped by the healing power of sound.

I see you,
see me,
looking back at you—
but you don’t see me.

Killing me softly,
yet still,
“I rise.”

I am gone,
but not forgotten.
Though the world may think so,
I remain.

I am the echo lost in silence—

everywhere
and nowhere
at the same time.

If you seek me,
you will find me.
I’m not hiding from you.

We are all going somewhere,
or doing something in the world—
operating in motion.

If we can,
make a difference.

Let the fire burn,
so that it will heat things up.
Life is better that way.

I am changing every day.

Peace becomes her,
life.

The paths we cross
will not be our last.

We share the space we occupy,
even when we are unaware
of another presence.

Night meets day,
and day breaks—
silence.

Deconstructing structures,
while restructuring thoughts.

Building—
blocks, one stone at a time.

Tearing down walls
to get to the light.

See through me;
again,
and again.

The original design
cannot be replaced,
all others are only copies.

Perhaps we’ve seen the shimmer
all along,
but it shined so bright
that it was too much for us to bear—
so we looked away.

Maybe one day,
we will be able to catch a glimpse of it,
if we actually look
at what we’ve been seeing.

Sojourns.

From a distance,
I see the structure
on top of a hill.

What goes up,
must come down.

It’s a rivalry,
a tale of two cities;
one from the past
and one of the present.

Which one will establish the law—
or does it even matter,
if all things fall?

What goes up,
must come down.

What’s that burning smell?
Just my fingerprints making marks.

Inspired by works
where words are heard,
and thoughts are unearthed
under terrains of wisdom.

Sharing pieces of maps
that have shaped my practice
as an artist-philosopher.

Being put together.

We are like nomads
traveling through an oasis
without a permanent destination.

While trying to keep the peace,
we cast shadows of a dark past
that has left us stranded
in the middle of nowhere.

Even though we are coming out,
the vibrations of sounds
take us to a higher ground.

It is a ground that is like no other,
yet it is a constant connection.

The sky is the ground for birds.
It’s the height that attracts the birds to the sky.

We can learn from the birds,
it's all about finding our ground.

I walked up these steps
as they spiraled up,
I didn’t know what I was in for.

I imagined that I would see
something so extraordinary
once I reached the top.

So, what did I see?
A version of what it means
to be on top of the world,
yet, so distant from the world
that I could not touch the people.

I like being on ground level,
it’s easier to make connections.

Miracles happen every day,
multiple times a day;
we are all just one breath away
from our next miracle.

Breathe, give thanks,
and celebrate the miracle that you are.

This image serves as the panoramic view of my Black Is Beautiful series, where five figures are depicted as suspended in the air together, symbolizing their interconnectedness and shared experience. The shadows that accompany these figures are crucial in highlighting their multidimensionality. These shadows bring depth, suggesting not only the physical presence of the figures but also their spiritual essence, reinforcing the idea that their existence transcends the material world. This multidimensionality, shown through both the figures and their shadows, becomes a visual metaphor for the spiritual journey, a central theme of my work, and a key element in the broader conversation of Black Artistic Thought.

My Black is Beautiful with Confidence is part of the My Black is Beautiful series that I began in 2011. This life-size sculpture is suspended in the air, emphasizing its light and airy nature, as if it’s defying gravity and the weight of the world. The piece depicts the form of a full-figured, Black woman standing confidently, her hands resting at her sides, with her head held high. She exudes strength and grace, embodying the resilience and determination needed to face life’s obstacles. Her stance is firm yet uplifting, a reminder of the power and confidence that guides her on her journey. The way she carries herself challenges societal norms of self-acceptance, celebrating her beauty as an act of resistance.

This sculpture celebrates the beauty and strength of the pregnant Black woman. Her Black is beautiful as she carries life within her, balancing the demands of her own needs and the world around her. She shows up every day, ready to work, nurture her body, and break stereotypes about Black women and motherhood. Her presence defies narratives that seek to diminish her resilience, instead highlighting the grace and love she embodies in every moment of her journey. Her pregnancy is not just a physical state; it is a symbol of hope, love, and the enduring strength of Black women as they care for themselves and the lives they carry.

This sculpture celebrates the Black woman’s deep dependency on her relationship with the spiritual, which becomes the foundation of her worship. Her raised hands symbolize thanksgiving and surrender, an outward expression of the inner power she draws from her connection with God. She is unapologetic in celebrating a Creator greater than herself, demonstrating her faith with strength and grace.

Her act of worship is rooted in her upbringing and the teachings of her ancestors, who instilled in her the resilience and wisdom to navigate life’s challenges. Through her belief system, she restores her faith and understanding, leaning on the spiritual as both a source of strength and guidance. This piece reflects how the Black woman draws on these traditions to sustain herself, standing tall in gratitude and surrender, embodying the transformative power of her spiritual relationship.

This shot was taken to emphasize the height of the sculptures, considering the space in which these figures were installed. It offers viewers a sense that one must look up to the Black woman, symbolizing reverence and acknowledgment. While this image represents just one of the five sculptures in the series, this perspective highlights the sculptures' commanding presence, capturing the intention of them occupying and taking up space.

This photograph captures two of the five sculptures from the My Black is Beautiful series, as they appear during installation. The image highlights how the pieces are deliberately spaced apart and suspended at varying heights, inviting viewers to look upward. While the women seem almost within arm’s reach, their floating presence creates an Goddess like quality.

This arrangement speaks to the idea of Black women taking up space in society with grace and composure. These figures embody strength and resilience, existing as forces of nature while remaining relatable. They refuse to look down on the same society that has historically looked down on them. Instead, they inspire others to look up and to see what they may have overlooked, something that has always been in plain sight. This speaks to the idea of creating space for others to embrace their own truth, confidence, and belief systems. Rooted in my framework of Black Artistic Thought, this work challenges dominant narratives and celebrates how Black women have highlighted their connection to the spiritual through their relationships with one another, encouraging others to do the same.

This detailed view of My Black Is Beautiful While Pregnant captures the suspended figure of the women, with shadows that highlight her multidimensionality. Zooming in on the chicken wire reveals the intricate connections twisted together to form a seamless structure. The wires are held intact by the careful wrapping of cut wire around each other, emphasizing the delicacy of the process and my attention to detail, as well as the patience required to create this work.

This video captures all the components used to create this interactive sculpture installation, designed to be accessible for both disabled and able-bodied viewers. It demonstrates how the wire sculptures are suspended in the air, supported by arms crafted from chicken wire. While the arms are made of wire, the hands are depicted using a skeletal wire structure, offering a more relatable, human element. The installation’s dynamic use of colored lighting evokes the different moods and environments we experience. The shadows cast on the walls invite viewers into an interactive relationship with the sculptures, suggesting that while the shadows cannot be touched, they are still an integral part of the experience. The words in the background narrate the story of how the installation came together, integrating movement, light, shadow, audience participation, and sound.

This detailed view highlights the hand I crafted from 16-gauge wire, which is intricately attached to the chicken wire structure. In the background, colored lights are used to cast dynamic shadows, enhancing the overall feel of the piece.

Detail of one of the sculptures from the installation.

This is a performance piece I (Rikiesha Metzger) performed alongside Kara McDonagh and Lyneia Richardson at the Art & Spirituality Exhibition in 2023. Drawing from African Diasporic traditions, the use of call-and-response served as a tool for communal engagement and spiritual connection, inviting participants to experience the spiritual through art.

Some Say Freedom is Free was originally conceived as a call-and-response piece, beginning with three women at the center of the room. However, the audience was so deeply moved by the performance that they spontaneously joined in, without any prompting. This unanticipated participation highlights the performance's inclusive and organic nature, emphasizing the transformative power of audience engagement.

This performance took place at the Institute for Doctoral Studies in the Visual Arts’ (IDSVA) in-person symposium in April 2024, “A Toast to an Ethos of Care.” It was created from an open invitation for anyone associated with the IDSVA family to contribute their artistic and philosophical musings via academic papers, visual art presentations, and performances. I chose to do a performance as a powerful testament to the ethos of care that is the cornerstone of the IDSVA community.

As an artist-philosopher who values audience engagement, I had the opportunity to show up authentically and encourage others to do the same. The purpose of this performance was a call-and-response, which transformed the audience from passive spectators into active participants. It created an atmosphere that allowed all in attendance to embrace a communal exchange of energy for all who dared to take risks by living out loud as modern-day artist-philosophers.

"I Get Out" is a video performance piece created as part of my master's thesis. In this solo performance, I use the art of miming both as a way to conceal myself from the audience and as a nod to its traditional use as a great tool of expression. Miming enables me to communicate emotions and ideas without spoken words, allowing the audience to feel the raw intensity of the performance through exaggerated gestures and facial expressions.

This work is performed to Lauryn Hill’s 2001 song “I Get Out” from her MTV Unplugged album. The song, which speaks to Hill’s emancipation from institutionalized systems, serves as the foundation for my exploration of freedom and self-liberation. I use the visual “frame” of the video as a metaphor for the metaphorical boxes Hill seeks to escape. In this sense, the frame represents the constraints she rebels against, embodying societal structures and expectations.

Digital video of my breastfeeding story. Created in 2019.

Mr. Grumps is a puppet I created in 2009 as part of a performance piece designed to bring a funny twist to a serious topic. While working in an underserved community in Baltimore, I wanted to highlight how this particular community came together using the principles of Kwanzaa (even if they weren’t consciously aware of it). Kwanzaa was instituted around 1966 by Maulana Karenga, is one of the first African-American holidays. Its name comes from the Swahili phrase matunda ya kwanza, meaning “first fruits of the harvest.”

My Family Tree is a 73" X 84" quilt that explores the roots and legacy of my ancestors within the context of the human race. Beyond representing my own familial lineage, this piece serves as a depiction of our shared connections, illustrating the fundamental interlinking that binds us all. This piece brings together the idea of universal connection. Inspired by encounters during my travels, the work celebrates the endless possibilities of relationships we build throughout life. It is a reminder that there remains a constant presence of a familiar friend in every location

This quilt celebrates the power of love in relationships. Inspired by the song You Are My Sunshine, this piece reminds us that even in difficult times, love can illuminate the path toward positivity and joy in new relationships. In sharing my belief that we are humans having a spiritual experience, this piece embraces the idea that we can show up for love as our authentic selves.

When Lightning Strikes captures moments of transformation and power, honoring diverse spiritual journeys, personal histories, and the light that guides us toward the future, all while reflecting on the environment.