Artists

Amrita Sawhney

I call myself the youngest daughter of Indian immigrants, born in Baltimore and raised in Hanover, MD. I call myself incredibly blessed to have lived in the same house and gone to the same school my whole life until I made the decision to leave. When I graduated high school, I moved to experience something new. I attended Reed College in Portland, Oregon where I ate some of the best food and experienced some of the worst anxiety. Through the craziness of moving across the country, being in the same room as drugs with names I’d never heard, and then, welcoming in all the global pandemic brought (because what else could I do?), I earned a degree in Environmental Economics. Why Economics? What is Economics anyway? Despite what people may try to tell you, Economics is NOT a science. Economics is a language, just like art. The way I see it is that economics is an acrobatic language used to wield power which enacts change. Meanwhile, art is a genuine language of raw expression. My artwork is an expression of my deepest, most complex emotions – everything I feel that words could never describe. After graduating college and finding a job with an urban planning and transportation advocacy group, I returned to making art full force. At work, I make data visualizations. At home, I make personal visualizations. In between, I’m learning lessons and making friends along the way; My relationships with myself and others keep me (and my art) more alive than my salary ever will.

Anderson R. Ward

With nearly a decade of experience as a staff photographer for the Baltimore Afro American News, Mr. Ward has contributed his expertise to a range of prestigious publications, including the Baltimore Sun, Baltimore Times, and The Washington Post. His tenure as a trackside photographer—capturing events across Indy-Car, IMSA, and GT racing—for the Baltimore Grand Prix further underscores his versatility and commitment to visual documentation. Mr. Ward’s work is distinguished by its technical excellence and its ability to capture the nuanced narratives of his community.

Anson Asaka

I use my drawings and paintings to celebrate and embrace Black beauty, excellence, history and culture. My activism animates my artistry. I use my brush and pencil as tools to promote social justice and mutual understanding.

Babacar Pouye

It has become my passion and works at the same time as meditation for me. I constantly think of pictures stuck on my retina and I want to realize them with pencils or brushes. I make sketches and try different techniques and materials. My focus has become a realistic portrait style with a symbolic submenu.

I consider my world in the immediate surroundings as well as on the Internet, listen to a lot of music, meet people, friends as well as new acquaintances. We reflect on the changing mosaics of fate and adventure. All in all, there are associations and ideas for images that grow up for my interior and some take shape as pictures at home in my studio. I have participated in many group exhibitions in Senegal. I was nominated for the big price art humanity international.

Africa is a continent of nominated saturated colors. In the morning sparkling crisp, dazzling light in midday’s dazzling heat transcends to sunsets in deep red and violet tones. All of these colors have got a fix in my spinal cord and probably characterize choices on my palette.

Barry B. Keith

I am a 1984 graduate of The University of Delaware art school and a member of The Arlington Artists Alliance in Virginia. I have had many solo exhibitions and at present, GIRL POWER is showing at the FOHTA gallery in Arlington, Va.

I am a plain air painter that specializes in landscape, portraits, comic book art and fonts.

Brian Suryah

Mr. Suryah endeavors to reconcile his upbringing with a research-driven recontextualization of ancestral practices, thereby forging connections between historical narrative and contemporary expression. His work, which spans a diverse range of media, is dedicated to honoring the past while simultaneously manifesting its relevance in a modern context.

Artist Statement: At the core of Mr. Suryah’s oeuvre is an exploration of objects, ritualistic practices, and the nuanced application of pigment. Through the platform of Suryah Studio, his practice extends into collaborative engagements with regional branding, civic initiatives, and social impact projects. Employing a human-centered design philosophy, his work seeks to foster a deeper understanding of both individual and collective identity, thereby nurturing the interconnectedness of community and heritage.

Chukwudumebi Gabriel Amadi-Emina (Chuks)

His multifaceted practice, which encompasses photography, digital video, and multimedia collages, is committed to investigating the duality of his cultural identity and the broader complexities of being Black in America. Mr. Amadi-Emina’s work is marked by a sophisticated interplay of narrative, technical precision, and cultural critique that interrogates the convergence of African heritage and Western artistic paradigms.

Statement: Using photographic narratives interwoven with performance and ritual, Chuks illuminates moments in which individual identities are crafted by the confluence of African heritage and Blackness. Drawing upon portrait photography, both self-portraiture and that of others coupled with digital manipulation, painting, collage, principles of montage theory, and narrative world-building, he constructs deliberate environments around his subjects. These compositions intricately merge a pan-African perspective and its attendant spiritual and symbolic nuances with Western mythologies, allegories, and prevailing misconceptions about the Black body

Erasto Curtis Matthews

He began exploring his artistic talents as a teenager by drawing portraits of friends, family and his favorite musicians. Self-taught, he began painting later in life and his unique abstraction-based style is heavily influenced by elements of African culture and African American life. His work is grounded in vibrant color combinations and unique otherworldly settings. Erasto’s work has appeared in the pages of the Washington Post (2/4/2022). He is currently showing his work at the Barn Gallery at Wellspring Manor in an ongoing exhibit that started in 2018.

He has exhibited his work at The DC Black Theater and Arts Festival, Neiman Marcus/Black Art Today “Kuumba” Exhibition, The Lake Arbor Jazz Festival, Wolfgang Puck’s Sunset Room, National Harbor, Gateway Arts Center’s 39th Street Gallery, Brentwood Maryland, Artomatic DC, DC Art All Night, Athenaeum Gallery’s “Speak Your Truth – Black Lives Matter” Exhibition, Wheaton Arts Parade Gallery “Celebration”. Exhibition, Bowie Maryland City Hall and Busboys and Poets Anacostia. Erasto also has work at Serengeti Gallery, Capitol Heights Maryland.

James Murphy

Later, James attended the Baltimore School for the Arts High School and afterwards the Maryland Institute college of Arts where he received a Bachelor of Fine Arts Degree in Visual Communication. After college, James began his art career as a freelance illustrator completing illustrations and designs for numerous clientele including Physical Therapy Today Magazine and Umoja Children Greeting Cards; but today James focus is on his fine art drawings, paintings and reproductions which he distributes through his own company,Something For Your Soul Fine Arts.
James’ Art has been featured in various exhibits, numerous art shows & festivals and also on Baltimore’s WJZ-TV Channel 13. Collectors may acquire James’ art through his website or by scheduling an appointment to visit his Home Studio located in Baltimore County. James sums up his work by simply stating, “I am a Husband and a Father, a man of Faith as well as a man of Color; It’s these experiences that I seek to explore and express in my Art.”

Kia Kelliebrew

Having a love for drawing and creating since childhood she went on to graduate from art school with her BFA in Fine Arts & Graphic Design. Beginning her career atister 2 Sister Magazine, establishing a path of notable media and blogging credentials. Later moving on to design ad campaigns and various visual art assets for celebrities and corporate brands such as Forever 21, Discovery Channel, Mary Kay and many other top level companies. Kia now spends her time dedicated to the growth and development of Kelliebrew’s World Art Boutique, designing graphics for the Executive Office of Mayor Muriel Bowser and sharing her knowledge and love for art with youth across the DMV area.

Joseph Williams Melku

Mr. Melku’s oeuvre is immediately recognizable by his consistent use of the Ethiopian banner colors—green, yellow, and red—which serve as symbols of African spirituality, love, and enduring cultural traditions.

Artist Statement: For Mr. Melku, the act of painting constitutes an intrinsic form of self-expression that transcends verbal communication. His creative practice is concerned with the harmonic resonance between artistic message and audience perception. By emphasizing themes germane to the African diaspora and the spiritual dimensions of Rastafari culture, his work seeks to portray Black identity as a continuum—both ancient and dynamically evolving—celebrated through a vibrant visual lexicon.

Leon Willis

His initial career as a fashion and editorial makeup artist provided him with a distinct visual vocabulary, which he later translated onto the canvas as a means to explore and expand his creative expression. Driven by a desire to address the underrepresentation of Black and Brown individuals in visual narratives, Mr. Willis has consistently sought to create imagery that diverges from traditional depictions. His canvases offer a liberating space for complete artistic autonomy and serve as a testimony to his commitment to redefining aesthetic boundaries.

Statement: Since my time in the beauty industry, I have continually sought to push the boundaries of the mediums I employed. The underrepresentation of Black and Brown individuals in those spaces further motivated me to create innovative aesthetics and visual narratives that diverged from the images I grew up with. Moreover, the experimental looks I envisioned were often not granted to models on set, compelling me to embrace the canvas as a means to achieve complete artistic freedom and to articulate stories through color, texture, and mark making that had previously lacked expression.

Liz Miller

Her films capture community members and herself performing while adorned with hair sculptures for meaningful transformative movement rituals. The concepts embodied in her work are social justice themes centered around the black experience in America; utilizing both history and Afro-futurism simultaneously balanced within. She considers her work to be a part of a broader black liberation strategy employing black joy and serious play. Her work has been exhibited at various noteworthy institutions including the Delaware Contemporary Museum and the Museum of Craft and Design in San Francisco, CA., and internationally (throughout Canada, Japan, Indonesia, South Korea, England, Liberia (West Africa), and India). B. A. in Art and Design from Towson University and an MFA from Maryland Institute College of Art. She has been a teaching artist for the last twenty years and currently is an art teacher for a Title 1 school in Baltimore, MD. Guest Lecturer for colleges, including Maryland Institute College of Art, Johns Hopkins, and Loyola University Maryland.

Maria Antoinette

Marie credits her creative process and diverse approach to extensive travel, living abroad, and the strong cultural influences she experienced as a child growing up in the wake of the 70’s race riots. Furthermore Marie acknowledges the ancestral contributions of coming from a family of Quilters. Marie is committed to creating works that are noteworthy. Currently, her home collection of collaged picture frames, lamps, and planters are featured at Arts’tination Gallery, National Harbor Maryland where she is a resident artist. Marie credits her creative process and diverse approach to extensive travel, living abroad, and the strong cultural influences she experienced as a child growing up in the wake of the 70’s race riots. Furthermore Marie acknowledges the ancestral contributions of coming from a family of Quilters. Marie is committed to creating works that are noteworthy.

Miles Johnson

This familial influence sparked his admiration for artwork, and he often found himself drawn to the art museums at the Smithsonian, running down to the national mall to explore the masterpieces on display. However, it wasn’t until three years ago, when his beloved grandmother passed away, that Miles made a profound decision.

He resolved to pursue art as a way to honor her lasting legacy. Since then, he has devoted himself to crafting meaningful narratives through his creations. Some of his works delve into historical accounts, akin to the painting he made for an auction. On the other hand, he also embarks on abstract journeys, delving into intimate thoughts and emotions that he skillfully weaves into his art wall compositions. Miles’ ultimate aspiration is to leave a lasting impact on those who experience his art. He seeks to gift viewers with compelling stories that resonate with them, allowing them to walk away from his artwork with a tale worth sharing and cherishing.

Ola Akinsola

Using the Wacom Cintiq 16 tablet and the Clip Studio Paint drawing software, I create works that take viewers on a journey into the faceted aspects of my creativity.
Given the stigma that still lingers about working in digital art, I strive to keep my methods as traditional as possible, with the exception of using the undo button. For those curious about my workflow, I have time-lapses that can be provided of my entire process, from conception to the final painted piece. My work aims to place African American subjects in different environments/scenes that explore the relationship between nature, technology, and futurism. I am based in Silver Spring, Maryland.

Robert Stephenson JustRo

His early forays into diverse media provided a solid foundation for his creative endeavors; however, it was his critical exposure to military and corporate power structures that refined his artistic sensibilities. As a young African American operating in environments traditionally dominated by senior white leadership, Mr. JustRo gained a profound understanding of systemic inequities and implicit bias. These experiences have emboldened his commitment to deconstructing power structures and amplifying marginalized voices. Over the years, his practice has evolved from a focus on portraiture to the creation of large-scale works, immersive installations, and innovative three-dimensional forms. A period of extensive travel in West Africa (2021–2023) further enriched his practice by deepening his appreciation for traditional textile techniques and the cultural narratives they embody. This phase culminated in the development of his signature “Visual Aphorisms,” mixed-media sculptures that integrate text as a dimensional element by employing techniques informed by his background in aerospace engineering.

Artist Statement: A Visual Aphorism derives its potency through the deliberate integration of the abstract symbolism inherent in traditional textiles with the explicit semantic content of proverbs. In his work, the textile is not merely a background element; its colors, motifs, and cultural heritage convey layers of ancestral wisdom. Concurrently, the incorporation of text into the physical form of the artwork transforms it from a mere caption to an essential component of the visual narrative. This synthesis, reminiscent of strategies employed by artists such as Jasper Johns, challenges conventional distinctions between symbol and literal object, engendering a multi-layered dialogue that invites critical reflection on power and equity.

Temi Wynston Edun

an abstract figurative artist in Columbia, Maryland, was born in Ibadan, West Africa. His portraits explore social, political, and psychological themes of the Black experience, capturing sub-Saharan features he calls “Africanness.”

Edun’s work emphasizes facial expressions, creating intimacy and engagement. He seeks “interesting faces” that tell stories without words. Recognized early for his talent, he won multiple awards, including a UNESCO poster competition in 1979.Edun earned a Bachelor of Fine Arts from the University of Benin in 1984. After migrating to the U.S. in 1990, he worked under artist Larry “Poncho” Brown and exhibited his work internationally. His piece, “Just get over it (they say),” was featured on the Travel Channel’s Ghost Adventures. Edun volunteers as a teacher and is a member of several artists’ organizations.

My artistic practice explores intricate intersections and impacts of culture on identity through single-figure portraits. Drawing inspiration from my Nigerian heritage, I delve into the psychological and societal effects of colonialism and traditional beliefs, investigating how they shape perceptions of minority groups. Each portrait serves as a visual monodrama, capturing the essence of solitary performances on canvas. I focus on themes of isolation, vulnerability, and the enduring effects of cultural narratives on the human psyche.

My work is a dialogue between the past and present, a way to engage viewers in an unspoken conversation about identity, otherness, and the power of culture in shaping our experiences. Through intense, brooding expressions, my art invites viewers into an intimate exchange, challenging them to confront the complexities of the human condition. My pieces feature oil sticks as the sole medium, a unique and distinctive mark-making technique that creates the textural components encapsulated in my work. Through a snapshot of a single moment, onlookers consider all the realities…the experiences, both behind and beyond.