A hybrid debut-retrospective curated and conceptualized by Azi Jones and Nsebong Adah, featuring work from members of Princeton's Black Arts Collective.
Poster design by Zavier Foster @zaviersartburner
Curatorial Statement
A Thousand Brackish Channels defies the singular in all ways. Featuring 13 artists from the Black Arts Collective, this hybrid debut-retrospective highlights a new generation seeking to establish themselves anew but not apart. Three years after our premiere in this very room, the Collective finds itself on the fringe, somewhat like an estuary, pulsing and brackish. Our past is present, but referential; our rhythm in ebb and flow with the future and its propensity for unfamiliarity. And as we transition, we’ve chosen action as our guide—in all its forms, speeds and directions.
With this, A Thousand Brackish Channels strives to demonstrate collisions, revisions, and renewals. To reveal new frequencies that continuously compound, archipelagic and diasporic. To flicker through, dissolved, different, and sensorial. To untangle and untether in order to reconnect. Across the mediums of video, sculpture, poetry, textiles, and painting, follow us as we ricochet, boomerang.
Exhibition Walkthrough
Documentation by Nathalie Barnes
Installation Images
Install and lighting by Azi Jones
Exhibition Photography by Nathalie Barnes
Entrance View of "A Thousand Brackish Channels".
Installation view of "A Thousand Brackish Channels".
Installation view of "dearly beloved / children of light" by Nathalie Barnes.
Installation view of "Odoya lemanjá" by Sabrina Nicacio.
Installation view of "Enigma 1" (left) and "Enigma's Return" (right) by Star Ross.
Installation view of "She Tries and Tries and Tries [Her Tongue]" by Ariel Sylvain.
