Paper scraps and watercolor and oil markers on wooden board
BAOBAB, TREE OF LIFE
UBUNTU; I AM BECAUSE WE ARE
BAOBAB, TREE OF LIFE
Baobab is now on view at Van Cortland Park Bronx NY at The African Burial Ground adjacent to the Tennis Court.
UBUNTU; I AM BECAUSE WE ARE
UBUNTU; I AM BECAUSE WE ARE
UBUNTU; I AM BECAUSE WE ARE
Ubuntu is a group portrait, celebrating the familial and societal impact of womens lives and work.
PRIDE OF OUR VILLAGE
AN- NISAA 1: THE WOMEN
UBUNTU; I AM BECAUSE WE ARE
"Pride Of Our Village" will consists of 100 portraits of BIPOC women on painted on U.S Dollar bills honoring 100 years of women’s voting in the USA
AN- NISAA 1: THE WOMEN
AN- NISAA 1: THE WOMEN
AN- NISAA 1: THE WOMEN
The site-specific installation predominantly consists of African wax, Kente, Batik and Tie and dye fabrics scraps. Symbolically, it represents groups of women from diverse communities.
I AM BECAUSE WE ARE
AN- NISAA 1: THE WOMEN
AN- NISAA 1: THE WOMEN
I interpret national monuments as symbols that reflects and celebrates the diverse communities in the United State.
WELCOME HOME
SEE SOMETHING, SAY SOMETHING
BLACK BLACK BLACK
In this series I juxtapose layers of histories through the complex view of the African and African diaspora experiences of nostalgia of place and time.
BLACK BLACK BLACK
SEE SOMETHING, SAY SOMETHING
BLACK BLACK BLACK
This piece conceptually answers the question of what it means to be black, informed by a complex view of the black and colored experiences in the United States.
SEE SOMETHING, SAY SOMETHING
SEE SOMETHING, SAY SOMETHING
Is yesterday eating today’s tomorrow?
Perceptive use of commonly found objects creates poetic representations of real world issues.
Is yesterday eating today’s tomorrow?
Is yesterday eating today’s tomorrow?
Is yesterday eating today’s tomorrow?
Is yesterday eating today’s tomorrow?
ANAS AREMEYAW ANAS
Is yesterday eating today’s tomorrow?
ANAS AREMEYAW ANAS
I miss you home
Is yesterday eating today’s tomorrow?
ANAS AREMEYAW ANAS
In “I MISS YOU HOME” Tijay used photography to document a room where he lived between 2011-2016, located in B388/13, Shukura, Accra Ghana.
BLACK-AND-BLUE BA-NANA
LIVE AND DIE IN KANTAMANTO
BLACK-AND-BLUE BA-NANA
A minimalist approach in both material and form to equate how men treat women verses how men should treat women.
ART IN THE MOSQUE
LIVE AND DIE IN KANTAMANTO
BLACK-AND-BLUE BA-NANA
The project seeks to insinuate mentorship ideas to bridge the gap between leaders and youth. Participants worked in multiple media addressing social issues at the mosque facilitated by immigrant youth and artists.
LIVE AND DIE IN KANTAMANTO
LIVE AND DIE IN KANTAMANTO
LIVE AND DIE IN KANTAMANTO
I voiced out the concern of marketers by collecting 453 t-shirts and 21 flour sacks from the Kantamanto market to create a piece with the text that I borrowed from them.