Earlene Hardie Cox is a lawyer and former IBM executive. From 1996 until she retired in 2001, she headed the firm’s international tax group. Since 2008, Earlene has advocated using clay art as therapy to combat Alzheimer’s. Through her affiliation with the Westchester (NY) County Chapter of The Links, Inc., she created a clay art program for Alzheimer’s and dementia patients at the Wartburg Nursing Home in Mount Vernon. NY, a program for which she received recognition by the Hudson Valley Chapter of the Alzheimer’s Association as an Alzheimer’s Champion. Earlene is a juried artist at the Clay Art Center in Port Chester (CAC), NY where she serves as a board director.
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esigner, and poet, Emmett Wigglesworth was born in Philadelphia, Pennsylvania, where he attended the College of Art and later enlisted in military service. He was honorably discharged from the U.S. Marine Corp. in 1957 and has resided in New York since 1958. Mr. Wigglesworth has designed and illustrated several books and magazines for various publishing companies including Harper and Row, McGraw Hill, Macmillan Press, American Books, and Sesame Street magazine. He's combined his poetry and printmaking, produced a documentary on "Aging," and designed the covers for two volumes of the Journal of Black Poetry. He taught art at the New Muse in Brooklyn, the J.O.I.N. Center, the Children's Art Carnival, and the Harlem Parents Association in Manhattan. He was also an instructor for several special programs for the Board of Education, where he taught academics through art. Mr. Wigglesworth participated in the Civil Rights movement starting in 1959 and in the early '60's taught art at the CORE Freedom School in Selma, Alabama. During that time he wrote and directed two plays for the CORE Freedom Theater in San Francisco. In 1968 he designed the interior and exterior of the Bedford Stuyvesant Theater in Brooklyn. He also designed costumes and stage sets for the Black Spectrum Theater in Queens, N.Y. His work has been exhibited in Ghana and throughout the U.S. and his mural commissions include: private homes, P.S. 181 in Brooklyn, the New York Cultural Council, Metropolitan Transit Authority, Kings County Hospital, Abyssinian Development Corporation and the Brooklyn Children's Center and eleven murals for the Addiction Research and Treatment Corporation and Urban Resource Institute (ARTC-URI). Emmett Wigglesworth is a member of the National Conference of Artists, the Weusi Artists N.Y.C., the Association of Caribbean and American Artists, AAA Artists and Cross Sections, as well as the Fulton Art Fair Artists.
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Floyd Strickland, a versatile artist based in Los Angeles, CA, offers a reflective and critical exploration of American culture, particularly through the perspectives of Black and brown children. Inspired by his childhood environment, Strickland employs realistic figures that intertwine with aspects of American cultural imagery, resulting in ethereal and figurative paintings. His artistic journey is a testament to the distinctiveness of his work. Having previously engaged in building and renovating elementary schools nationwide, he observed a troubling lack of confidence in many Black and brown children—a struggle he experienced during his upbringing. To address this issue, Strickland embarked on a mission to create large-scale figurative oil paintings depicting these children's beauty, strength, and untapped potential. Strickland's own children often serve as focal points in his artwork, reflecting his deep care and emotional connection to them. He strives to portray them as larger-than-life figures, conveying his immense love for them. Currently residing in Los Angeles, Strickland continues to pursue his artistic endeavors, crafting pieces that challenge and inspire viewers to reconsider preconceptions about race, identity, and the human experience. Throughout his career, Strickland has showcased his art in a variety of solo and group exhibitions, including "Super Rich Kids" and "The World is Yours" at ThinkSpace Projects and Art Angels in Los Angeles, CA. Notable group exhibitions at Detour Gallery in New York, the STRAAT Museum in Amsterdam and many more. Strickland's exhibitions span internationally and locally, reflecting his commitment to exploring themes of identity, culture, and social justice through his artwork.
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alogue between history and lived ex bridges the traditions of old world painting with the contemporary struggles and triumphs of Black America. Born in the post-integration Deep South and raised in the resilient confines of a governmental housing project, Byrd's artistic journey is deeply rooted in his personal history. Weekends spent at his grandmother's house-a rural slave cabin surrounded by fields of wildflowers and butterflies, without the modern convenience of running water-imbued him with a profound connection to his ancestral past. This juxtaposition of beauty and hardship informs his powerful, meticulously rendered images. Byrd reimagines Black bodies and historical figures through classical techniques, inviting viewers to explore a layered past that is as rich with sorrow as it is with the strength and vitality of a people who have overcome immense adversity. His canvases echo the complexity of Black life, capturing moments of quiet dignity, communal resilience, and unyielding joy. Byrd's art is inseparable from his lifelong commitment to his community. Serving as an alderman for twenty years and founding a nonprofit dedicated to bringing the arts to underserved neighborhoods, he embodies the intersection of artistic vision and civic responsibility. Each brushstroke in his work serves as an act of reclamation-restoring forgotten narratives, affirming identity, and challenging traditional portrayals of Black history. In doing so, Byrd not only pays homage to the resilience of his forebears but also inspires a renewed dialogue about empowerment, representation, and the transformative power of art in the struggle for social justice.
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A Baker’s interest in art began at ag high school. Over the years, Gabrielle was educated at the Art Student League, Fiorello LaGuardia High School of Music and Art, Parsons School of Design and Fordham University. After a decades-long career in the healthcare field, her passion for art was reignited 30+ years later. She paints abstracts inspired by metals and minerals with the understanding that abstracts “defy reality.” Baker has shared that, “metals and minerals are the most diverse elements on earth. Their metaphysical benefits for self-awareness, self-healing, and self-development are coming into sharp focus.” They fall into two categories: Metallurgy – metals and combinations of metals which are called alloys, and Mineralogy – any substance categorized as a mineral. Her goal is always to express on canvas the essence of the substance or element rather than depict a realistic portrayal. She relies heavily on color and layering to create the illusion of depth and dimension, and now utilizes polymers and other media to give the abstracts a more realistic appearance. Gabrielle’s success has led to several solo exhibitions at Kente Royal Gallery in Harlem, NY, as well as participation in numerous prestigious art shows and exhibitions at venues like The Harlem Fine Art Show, Heath Gallery, Studio Montclair, and Montclair Art Museum.
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eone ’ s life and their culture. Glenda’s pecifically that of women and children ocus on Africa due to its tremendous y , g ntral State University, is a nationally recognized photographer who first became interested in the field as a child. She pursued her photography more seriously in 1999 with the introduction of digital photography and computer technology support. The advent of digital photography linked her personal and professional life –her profession focused on technology. Once this connection was made, she leveraged the two passions to create spectacular, passionate images. She is a member of the Bronx Photographic Society, attended the Nikon School of Photography and the New School for Photography. She has had numerous exhibits, at locations such as, the Cornell Weill Library and Alcatel-Lucent HQ., the Montclair Women’s Club, AC-BAW Cultural Center, and other art exhibits. Her work is currently part of the permanent Mahogany Exhibition in the Mural Pavilion of Harlem Hospital. Over the past ten years, Glenda was afforded the opportunity to travel to the OMO Valley of Ethiopia. The works emanating from these trips showcase some of the oldest, indigenous African groups on the continent. There are very few photographs of our people prior to their being transported into slavery. Glenda’s lens captures the way of life of the people of the OMO Valley, which she believes best represents how our ancestors lived prior to slavery. Her subjects engage in the tasks associated with rituals related to family, community and selfpreservation. The OMO Valley photos are part of her ongoing collection entitled THE AFRICA I SEE. In addition to her Africa work, Glenda is currently photographing our Military Heroes. She works with the NY Chapter of the Montford Point Marines and the NY original Tuskegee Airmen to capture them in their sunshine years. Throughout Glenda’s photographic career, she has pursued her desire to make sure we have a photographic record of the phenomenal people who have crossed her path.
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founder of the Nubian Heritage
Quilters Guild, as well as Nubian Sisters & Company. She comes from a long lineage of dressmakers that have mastered sewing and cooking. Her approach to sewing is similar to her approach to cooking - she enjoys experimenting and rarely follows patterns or recipes verbatim. Glendora loves the texture and pattern of fabrics and is particularly intrigued by the creative possibilities they offer. Glendora shared “when the fabric speaks to me, I try to listen … When a piece turns out well, it has movement and balance, tension as well as tranquility. Color progression, patterns and organic shapes make my heart go-aflutter.”
Overall, the focus of Glendora’s artwork is to embrace traditional textile crafts. She enjoys working with fabric, thread, and yarn and is also inspired by her African American ancestry. That is what informs her work, impacts her artistic sensibilities, and indulges her desire to create exciting contemporary works, employing traditional skills.
Ingrid Yuzly Mathurin is an artist whose work explores the intersection of identity, culture, and resilience, drawing from her rich heritage as a first-generation Haitian-American. She uses her platform to challenge stereotypes and celebrate the strength of Black and Brown communities.
Mathurin’s artistic journey began with a study of fashion design at the Art Institute of Fort Lauderdale. Her work has been featured in prestigious exhibitions, including at the Nelson Mandela Metropolitan Museum of Art in South Africa, and she has created a 52-foot mural commissioned by Adult Swim. Her collaborations with major organizations such as the NFL and ESPN highlight her commitment to social justice, including creating cover art for Colin Kaepernick's "Know Your Rights Camp."
Recently, Mathurin's work has gained further recognition with her participation in the "Afro-Latinx Mixtape" exhibition at the Jamaica Center for Arts and Learning, where her portrait of Celia Cruz, titled "Queen of Salsa" (2024), was showcased. This piece pays homage to Cruz’s Yoruba practices and aligns with Mathurin’s dedication to celebrating Caribbean culture.
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New Jersey based sculptor Jerome China was born in Richmond, Virginia and is best known for his abstract metal sculptures made from rusted and discarded scrap metal, automobile gears and other industrial detritus. The pieces are a fusion of found metal, impulsive ideation and life context. At times his work is inspired by external context, and other times, by the innate story he interprets from the metal object.
Jerome started his career in 2012 and received his early training as the first artist in residence at All Iron Works commercial welding and fabrication shop currently located in Hoboken, NJ. In addition, he studied with blacksmith Paul Januz at Gravity Line Forge. These residence experiences provided a balanced foundation in welding, Blacksmithing and metallurgy. He has lived in New York, Bermuda and Virginia and currently resides in Jersey City, NJ.
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Jimmy James Greene is a well known artist and educator. Since his childhood in Xenia, Ohio, Jimmy James has shown exceptional artistic ability. Jimmy James has shared “I think in pictures usually; I’m just wired that way…That’s why I create, it flows through me. ” After apprenticing with acclaimed afro-centric muralist, Jon Onye Lockhard, in Ann Arbor, Michigan, Greene graduated from The Rhode Island School of Design and also earned his Master’s degree. For the past 25 years, his work has explored the communal expressions of the African Diaspora in general and the African American experience in particular. Jimmy James’ work has been shown in over 30 solo exhibitions and innumerable group showings. As a commercial artist, he has theater posters, CD covers, newspaper, magazine and book cover illustrations to his credit. One of his well known public works is The Children's Cathedral mural commissioned by the NY Transit Authority located at Utica Avenue Subway Station in Brooklyn, NY. Another public commission was for a mural in the Herbert Von King Park amphitheater in Bed-Stuy. He has gone on to become an accomplished painter, collagist, draftsman and designer.
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e specialist born and raised in y , journey began in elementary school with graffiti black books that were passed around to neighborhood street artists trying to outshine each other from spread to spread. Honing his skills with spray paint and an airbrush, he then began creating murals, t-shirts and other various artworks for local homeowners and businesses who all recommended he take his skillset to the next level through proper training.
In 1995, Kevin enrolled in SUNY Purchase’s BFA program and graduated in 1999 with a degree in Graphic Design. As Senior Art Director by his mid 20’s for a SoHo based ad agency, he created the materials for big brands like Sony and Cisco but would include illustrations and creative pieces that matched his aesthetic and were enthusiastically embraced by the brand. Although he found success in advertising, Kevin would always find himself going back to his first passion – painting. Many of his figurative pieces are inspired by the women in his life who he describes as strong, fierce women who have always faced adversity and hardships head-on with confidence and unmatched poise. Working with a variety of mediums as acrylics, spray paints, oil sticks and pencils, his work is active, vibrant, and rich.
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whose creative journey began here he first discovered his p p y s father’s work, he embraced painting at a young age, starting with wet-on-wet Alla Prima oil techniques. Over the years, Kalan’s artistic focus evolved from portraits to include landscapes, figurative works, non-representational art, and even fantasy and horror styles. Driven by an insatiable curiosity and a commitment to growth, Kalan constantly pushes his creative boundaries, exploring new techniques and approaches. His diverse body of work captures the essence of his subjects in evocative portraits, transports viewers through vivid landscapes, and crafts powerful emotional narratives in his non-representational pieces. Each creation reflects his deep respect for the old masters, blending classical techniques with a modern, innovative touch. Kalan’s art is a testament to the transformative power of expression, showcasing the limitless possibilities of a lifelong dedication to exploration, storytelling, and the pursuit of artistic excellence.
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wark School of Fine and Industrial Arts. He credits his parents for nurturing his passion for art at an early age. Utilizing reclaimed materials and objects, he infuses his work with a profound emotional depth, often incorporating bold and vibrant colors. Collages, among his preferred mediums, serve as a platform for addressing social injustices, such as racism, poverty, war, and police brutality. Kortez emphasizes, "As an artist, I feel a need to address this social construct called race, not because I want to but because I can’t avoid it in my own life…" Being an African-American artist with a deep understanding of Black history, he finds it essential to address these themes, even in seemingly simple portraits. His works of art have been prominently featured in prestigious exhibitions and galleries across the NY/NJ/CT tri-state area. Additionally, Kortez co-founded the African Diaspora Arts Festival, where he serves as Creative Director and curator.
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t and creative director from Plainfield, New Jersey, kn oach to creativity. After graduating from Temple U tudies and Production in 2023, Kyle used both his m with his gift as a visual artist to establish himself as an em ty. Kyle’s work primarily revolves around bold and emotionally charged charcoal drawings on paper, exploring themes of identity, culture, and the human experience. His distinctive style, marked by intricate details and a masterful play of light and shadow, has garnered the attention of art collectors and institutions around the world. His growing body of work has not only cemented his reputation as a skilled draftsman but also sparked conversations around contemporary Black narratives and social commentary. Recently, Kyle hosted his first professional solo exhibition in Manhattan, NY titled Dreams and Reality. This milestone marked a significant moment in his career, showcasing his exploration of the interplay between aspiration and lived experiences through his powerful charcoal works and immersive experience. The exhibition highlighted his growth as a solo artist and creative director and introduced his vision to the world for the first time officially as a professional artist. In collaboration with his father, Alonzo Adams a renowned figurative artist Kyle has exhibited his work as part of their "Legacy Tour." This tour has taken them to venues such as the Richard Beavers Gallery in Soho, Detour Gallery in Chelsea, and Rockland Center of the Arts, where their work was featured in the “Charles White Influences” exhibition. The Legacy Tour serves as both a creative partnership and an intergenerational dialogue between father and son, blending Alonzo’s mastery of figurative oil painting with Kyle’s exploration of identity through his signature charcoal works. Aside from his visual art practice, Kyle’s reputation as a "renaissance man " stems from his efforts in combining creativity with entrepreneurship. As the founder and creative director of ‘Be the Renaissance,’ Kyle leads a range of projects that intersect art, media production, and community development. His vision includes creating opportunities for rising artists and entrepreneurs from underrepresented backgrounds, providing platforms and opportunities for others. Kyle's dedication to both his craft and his community is reflected in his approach to mentorship and collaboration, actively seeking ways to empower the next generation of creatives. His artistry, combined with his passion for uplifting others, continues to leave a mark, both in his hometown of Plainfield and beyond.
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A what I have seen and experienced as an ep urled at African American women and girls, my ar of redirection. Defined by a maximalist view on color that takes up space and emotion, these paintings and collages, as portraits and people-scapes, they are an imagined wish for the better parts of what currently is, what has been and what might be created in the future. In this way, my work is a universe of MORE for it’s subjects - to illuminate, clarify, and beautify a landscape of survival through both hidden and unhidden terrors with wonder as a therapy and a physical path against any fog and all of the storms along the way. In this sense, my art is a weapon. As an African American woman and mother of two African American girls, my work often features them or ideas of us as a physical representation to resist, reframe and reconfigure the pretty cages and the tiny boxes that would misidentify, capture and harm those exactly like us, or not so far removed. Rather than accept the idea that anyone should become a ghost, a mouse, or a misreflection (i.e. an incomplete reflection of themselves) to fit into the more “popular” and “best” spaces, this art is a retelling and a call to take back whatever was given or abandoned of ourselves before we knew better. Through painting and elements of collage, it is a decision to fully exist because we can, we deserve, and we should - bursting out rather than in, larger rather than smaller -turning away from being herded into confined spaces or ancillary places that would relegate it’s people to the sides rather than the center of the big picture, the big scheme or the main frame. In keeping with the idea of taking things back and organically returning to where we naturally fit, my most recent work has some coded nature-adjacent shorthand that is still evolving and transforming. Currently, it is this: Fruit is for growth, Fish and Shells are for expansion and finding different paths Bubbles are for freedom from fear despite the fire, and Gold and glitter is for hidden subterranean worth.
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Leila Rose Fanner is a painter and illustrator. Born to a South African artist and an African American musician, she was raised in South Africa and currently works from her studio close to Cape Town. In her work, Leila is “depicting the gentle, natural feminine presence, the spirit of Mother Nature or the essence and potential of the Soul” as she states it. Leila’s subject matter explores the symbolic language of dreams and the subconscious landscape of emotions from a very personal, distinctly feminine perspective. Through her art, she unfolds a story about the soul's journey within the material world, often referencing African flora and fauna, fabric patterns and folklore.
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A discovered her passion for p alling that would guide her t he moved to Brooklyn, NY where she currently resides. After her retirement and raising her children, Louella finds herself free to fully embrace her passion for art. Hoping to spread this infectious happiness, she devotes her time to creative pursuits, feeling fulfilled in expressing her true passion and purpose. For Louella, the process of creation holds immense gratification, transcending the mere completion of artwork to a spiritually enlightening journey between conception and culmination. She believes that everyone can tap into this experience by tuning into their inner voice and expressing their true selves. Grateful for the appreciation and participation in her artistic and cathartic celebration of Blackness, Louella reflects on her origins as a “Baby Boomer” in 1950s Harlem.
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ais, Portugal and raised in a large rde, West Coast of Africa. Settling in Newark, NJ in 2002, she attended The Newark School of the Arts in 2008, where she met her mentor, Andrew Cohen, and further developed her interest in digital photography. Estrela’s photographs of nature and travel serve as an expression of selfhealing, stillness, freedom, and a doorway to inner self. Estrela’s interest in collage began in 2018 in a workshop led by artist Mansa Mussa. Since then, collage/mixed media have become a key element in Estrela’s work. Her collages seek to reunite women with nature by placing them in landscapes surrounded by found objects, and re-contextualizing their power, emphasizing the correlation between the beauty of nature and all women. Estrela's current artistic focus is centered around her African roots. She hopes this work will inspire others to delve into their own family histories to bring about a stronger connection with self, culture, and custom.
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es a statement about the im e, moving past mistakes, and re ds of affirmation peppered in his a or happiness and reassurance.
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o his pieces allow people to make t t note, self-reflection mirror, or p uetooth. Vibrant colors flood his p held conviction is that we see light and feel vibrations through color, which then gives off an energy of love in abundance. Flowers also factor prominently in his art to connote appreciation for ourselves and others. Right down to the framing, McLeod makes a statement about the beauty of imperfection. His revolutionary work is intended to free one ' s mind of self-doubt and challenge the mind to create an engaging space of constant love.
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rom New Brunswick, NJ. She first he House of Art in her hometown. Her h to pastels delivers energetic drawings that are bright, fresh, current, and cultured. Martryce playfully incorporates elements of music, education, geometric shapes, and environment to construct art stories that speak to the human experience, particularly as it relates to African American culture. Martryce earned a Bachelor’s Degree in Public Health and Africana Studies and a Master’s Degree in Social Work. Working with people, resolving problems, advocating for change, fighting against injustice, teaching coping skills, and inspiring resilience have shaped a lot of the context for her work. Martryce strives to create a kinesthetic experience for observers, hoping that one walks away having felt something move within. Martryce received the 2022 Fellowship Grant from the New Jersey State Council on the Arts. Martryce has exhibited at the New Jersey State Museum, the Morris Museum, and other exhibits. Martryce is the Artist-In-Residence for ArtCrawl Harlem on Governors Island, NY. She participates annually in public art initiatives that transform public spaces into beautiful places where people passing by can learn about a wide array of social challenges. Currently, a mural sized digital image of the artist’s work, “Facing the Future Together” is on view at Newark Liberty International Airport in their brand new Terminal A. In 2023, Martryce’s piece “Solo Traveler” was purchased from our Empower The Village Juneteenth Art Exhibit for the permanent collection of The Colored Girls Museum in Philadelphia, PA.
rently resides in paints in both attack all subject erience as the Art ng. Archie founded olis, IN to use his gift and talent to instill unity through art among youth.
Archie’s works of art have been exhibited at the Schuster Art Center, Newfields Art Museum in Indianapolis, Indiana State Museum, Charles H. Wright Museum, The David C. Driskell Center, The National African American Museum and Cultural Center, and The Chicago Museum of Science and Industry. He has also been featured in The International Review of African American Art, American Art Collector, American Lifestyle Magazine, Black Art in America, and The American Art Review.
Mason Archie was the 2007 recipient of the Creative Renewal Fellowship from The Art Council of Indianapolis/Lilly Endowment, The 2020 Dehaan Artist of Distinction Award, and a perennial award winner from 2007 - 2009 in the Hoosier Salon’s Annual Juried Exhibit and Indiana Artist Club - both are two of the oldest competitions in the country. His works are in the corporate and institution collections of the Richmond Art Museum, Indiana State Museum, The Charles H. Wright Museum of African American Art, Nationwide Corporation, Wells Fargo, Lilly Endowment, Elanco, Division of Eli Lilly Eskenazi Health, and Community South Hospital. A host of prominent, private collectors across the country are collecting his breathtaking works of art.
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vidity for drawing. The High Point, North Carolina native studied psychology in college, but never strayed from art. Her passion was fully unleashed when she relocated to the San Francisco Bay Area in 2015. Immersed in an area with great appreciation and opportunities for creatives, her art flourished as she was embraced by the art community and participated in prominent exhibits. Melanie returned to North Carolina in 2019, family in tow, and pursued a Fine Arts degree. Her preferred media are oil and acrylic, creating landscapes and abstracts.
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Mercy Moyo began to draw at a young age and used her drawings to describe the world around her and tell the story of life in contemporary Africa. Her images are primarily collages, incorporating objects which complement and reinforce the images depicted. She uses oil, acrylics, charcoal, pencils, even smoke from candles, to create vibrant images of contemporary women in Zimbabwe today. One of her goals is to use her art to showcase the beauty of African women, be they from the village or the capital city of Harare, portraying the real African woman –in her long skirts, fuller figure, with her head covered abiding by the norms and rules of the typical African way of life. In 2006, Mercy became the first woman artist to win the National Arts Merit Award for two-dimensional work in Zimbabwe. She is a celebrated artist with global stature, and has received several prestigious residencies.
