On Wednesdays We Pop OFF: Confronting Misogynoir Through Feminist Discourse in Art
Wavy Wednesday standing in front of her artwork “Curing and Healing”
A Black pop art feminist with a charismatic color palette and bold statements, Kamara T is a Pittsburgh based artist and activist known as Wavy Wednesday. Recently, I had the pleasure to attend her current MFA Thesis exhibition, titled “Where Did Your Christ Come From”, featured at the 937 Liberty Gallery by The Cultural Trust until June 9.
Upon entering the gallery, I am welcomed to pink and white walls – greeted with visually hypnotic usage of patterns, layers, and shapes. The first work of art I come across is a statement so powerful I just knew I was in for a treat. Framed on the wall is an animated drawing of a Black Superwoman adorned in bubblegum pink, holding a blonde white woman. The white woman, whom the Black heroine is saving, uttering the words “thanks nigger”. Draped behind the women are the infamous words of Audrey Lorde, “the master's tools will never dismantle the master's house”.
“doing the work”
This piece serves as a social commentary on the Black Superwoman trope, indicating to the audience that Black women aren’t saviors, for even when put in such roles they are not appreciated. The depiction of this interaction forces you to consider how white women reinforce systems of racism. Reality is that Black women do not participate in the same “feminism” as their white counterparts because we are not included in white solidarity, the protection of white supremacy.
This powerful introduction to Wavy Wednesday left me captivated to explore more of her exhibition. Drawn in by big celebratory balloons that spell out SOS, this piece is not something to be ignored. In this artwork a white woman and white man stand before a gallery work, smiling at the art they are viewing. Inside the artwork reads an excerpt that calls out white supremacists who work at West Virginia University, the artist’s alma mater.
“White and Wonderful”
“THERE ARE ART PROFESSORS HERE AT WVU WHO ARE WHITE SUPREMACISTS. A FEW OF THEM HAVE SPREAD THEIR RACIST AGENDAS DIRECTLY TO STUDENTS IN PRIVATE OR IN CLASS SETTINGS AND ARE ATTEMPTING TO DISGUISE THIS AS “CONTROVERSIAL ART”. IN AN MFA PROGRAM WHERE ALL OF MY PEERS AND 97% OF THE FACULTY ARE WHITE, NO ONE CAN BEGIN TO UNDERSTAND THE SEVERITY OF THIS SITUATION. I DON’T FEEL SAFE HERE. MY WORK HAS ALWAYS REVOLVED AROUND PROTECTING BLACK WOMEN, BUT NO ONE HERE AT WVU IS PROTECTING ME.”
On first glance the piece is “pretty”, in which most will pleasantly smile/consume. However, upon closer examination, the viewer realizes that the artist is sharing an external perspective of her mistreatment as a Black woman, a perspective often overlooked or misunderstood by many. Through the employment of self-referential art, Wavy Wednesday mirrors the audience's act of viewing the image to shine a spotlight on the issue of white consumption of Black art. The audience is not only complacent towards the suffering of Black women, but they are contributors to Black women’s torment.
Many want to consume the benefit of art, while ignoring the message because they do not feel inclined to respond, as that would force them to hold their actions accountable. White audiences tend to be mesmerized by the creation of Black artists as an attempt to connect with Black experiences they will never relate to. Without the full context, white audiences objectify Black art by refusing to acknowledge the Black Experience. Instead they smile and laugh, “as if it’s a situation they can be in, as if we’re tap dancing on a stage and they’re laughing at it”, explained Ja’Sean Powell.
The aesthetic decision to incorporate celebratory balloons with an amiable theme helps to convey this double consciousness. It is, as the song says, “Y'all don't wanna hear me, you just wanna dance,” from OutKast's hit single 'Hey Ya!'. The artist is screaming out for help in an aesthetic tone that is comfortable to all, but a warning to those who care to listen – the epitome of Black existence under white supremacy. While the artwork may initially appear aesthetically pleasing, it serves as a stark reminder of the societal indifference towards the suffering of Black women.
With a consistent theme surrounding Black women’s adversity, it is imperative to call attention to the title of the exhibition. “Where Did Your Christ Come From?” is an excerpt from Sojourner Truth's infamous 'Ain't I a Woman?' Speech.In Truth’s address, she challenges the belief that women are inferior to men:
“ Then that little man in black there, he says women can’t have as much rights as men, ‘cause Christ wasn’t a woman! Where did your Christ come from? Where did your Christ come from? From God and a woman! Man had nothing to do with Him.”
Sojourner Truth delivered her speech at the 1851 Women’s Rights Convention, where she voiced the lack of representation for women’s rights, particularly Black women. While there were white women led movements on women’s rights, often Black women were not included, perpetuating their marginalization and dehumanization. Black women were not seen as women; we were not seen as human beings but were treated as property.
By titling the exhibit after “Ain't I A Woman”, Wavy Wednesday references the ultimate struggle that Black Woman have endured for years. “Where did you christ come from”, speaks to the origins of humanity, emphasizing that we are descended from Black women, yet society refuses to acknowledge our contributions and existence. By incorporating these words in her title, Wavy Wednesday is extending a poignant perspective of the erasure and disrespect towards Black women. She is prompting viewers to reflect on their role in protecting and advocating for Black women.
Ultimately, Black women have to stand up for themselves and this exhibition is an act of advocacy. As a Black woman, I appreciate Wavy Wednesday’s artistic contribution because her perspective is affirming to Black women’s experience as a collective. She contextualizes the nuances of racism, pop culture, and Black aesthetics to make socio-political commentary and hold oppressive systems accountable – that is true activism.
Each piece of Wavy Wednesday’s work is intricately layered with meaning. While I'm eager to analyze every artwork in her gallery, I believe that allowing space for individual interpretation is more powerful in digesting the depth of her art. With that said, the best way to support Wavy Wednesday’s work is to check out her exhibition, purchase her art, and to Protect Black Women.
Experience more of Wavy Wednesday's creativity by following their journey on their website and instagram @wavywednesdayyy
