Night in TunisiaFrom the Artist My earliest prints at Brandywine [Workshop and Archives, Philadelphia, in 1985] related to festivities such as Carnival (Brazil), Mardis Gras (New Orleans), Jonkonnu (Jamaica), and other Caribbean and American African based festivals, with their spectacular imagery and costumes. As in such festivals, my earlier prints were tinged with Eurocentric pageantry, costumes, and religions, although African ancestral imagery predominated. The

They speak about absence and presence

are recorded on several offset lithographic plates in three colors

with Triangular Weeze II and III being editions of 20

—Excerpted from Dumb Hope: My Curious Life

anonymous figures and inherited signs converge into something that reads as neither map nor portrait

When the white world was talking about minimalist

As a child I believed that art held a daily purpose for everyone

Whether in live performance or in the private performance I project into my paintings

lyrical video pieces and her series of large color lithographic prints derived from the subtle lines and dots on untuned television screens

tied to a tree and subjected to violence

Through them I navigate accord and discord

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