The ECSTATIC Vol. 2: Secret Wars / House of Revelations

A JAY STONE PUBLICATION

“WE KNOW SO MUCH MORE THAN WE UNDERSTAND...

“BUT WE KNOW SO LITTLE.

"MANY BELIEVE THE WHITE LIGHT YOU SEE WHEN YOU DIE IS THE SUPERCHARGED ELECTRIC WHIMPER OF A DESPERATE AND DYING BRAIN."

BUT IT IS NOT!!

THAT BRILLIANT, BLINDING LIGHT IS GOD...

The Ecstatic (Formerly known as The Experience Magazine) is an interactive Black Arts Publication aimed to examine pan-African ideas + race + identity + the celebration of spiritual practices across the wide range of black experiences. The editor & other artists featured are a collection of bold & unapologetic talent documenting & taking control of our stories; shedding light on all people of color about our various perspectives & upbringings.

Using a mix of Sci-Fi + mythology + hip-hop + afrofuturism + Eastern + Pan African philosophy; Editor Jay Stone looks to create an eccentric world building platform that explores life beyond the Western World. It challenges elitist & western perspectives on black bodies + art + love + global politics + spirituality.

In loving memory of Mrs. Kush

PG. 13 EDITOR’S NOTE PG. 14 PG. 16 WINDOWS PG. 26 ZIMZALLABIM PG. 34 THE ROGUE GALLERY PG. 42 PG. 46 THE NEW YANKEE PG. 54 PILOT JONES / REAL COOL PG. 57 DOOM INTERLUDE PG. 58 SELF PG. 62 DOLLAR BIN REVIEW PG. 67 LIGHTWORK PG. 72 WORDS HURT

PG. 74 PG. 77 TWILITE SPEEDBALL PG. 84 SOUL POTENTIAL

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UBUNTU

ASH SUPREME Same Energy

Instagram.com/blackandblue_7

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INTERVIEW BY JAY STONE

PHOTOGRAPHY BY JONATHAN ALONSO THE ECSTATIC 17

JS: What is it thats calling to you… or what kinda frame of mind are you tapping into when you’re working on these eclectic pieces?

GG: I like to start off with cleansing my space or isolating myself in my own world, it’s insane I can hardly explain it. But I play this one particular band that I’ve been listening to since I was 13. Once I play their music, I get lost and time travel through different versions of myself. I am aware that I am creating, but have no control of what comes out. The brainwave just flows out of my hands into the void.

JS: You mention that you recreate childhood dreams and experiences in your art. What is it about those moments that inspire your work?

GG: As a child, I’ve always had vivid dreams and have been journaling them since my first one. The thing about dreams is that it unlocks the creativity that goes unnoticed during our walking life. I believe that we all connect through dreams and raw experiences and I don’t only want people to feel the expression captured in my realm, but to also unlock their fullest potential through the lessons and guides provided. To seek perfection in imperfections.

JS: Why is it important that you honor your Taino roots in some of your work?

GG: The last time I was in my parents’ motherland I learned the beauty of disconnecting and learned an abundance of knowledge from my elders and history that surrounded me. It was a grounding experience, I simply just want to show appreciation to my roots.

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JS: Something I appreciate about your work is that it allows my mind to wander and escape into a place where I’m searching for some of the same answers to life lessons that you illustrate. Is your intention to encourage those to always dig deep and why?

GG: I’ve always admired art with subliminal messages. I want to stimulate your brain to look at every detail and underlining lesson that’s being taught. It’s important to me spread awareness to show people they aren’t alone in their journey or to guide them through it . The layers in my art are the pieces to a puzzle and everything connects to one bigger meaning , you’ll just have to sink along to figure it out .

JS: I think you are very innovative and pushing the depths of your creativity to give us beautiful blends of hues and intricate illustrations. Creatively how much further do you believe you can go? Whats next for you as an artist?

GG: The sky has no limits and neither should I. For every piece I work on my realm and stories become more vivid I want you to feel like you are there not only because of the image but the emotion behind every detail that continues to flow through different dimensions. My next move as an artist is very exciting. I am currently working on releasing new merchandise which will drop Spring 2023 and something even more exciting and new for myself as an artist approaching the following summer!

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INTERVIEW BY JAY STONE

PHOTOGRAPHY BY ROD PORTER

JS: You have a very fascinating path to your art career: going from collegiate football to a career in therapy to finding your calling in the arts. What were those transitions like for you?

MW: The transitions were like a roller coaster. Very confusing for family and friends. I went from living in Cincinnati, to Arizona, then Seattle, and now New York in the span of 4 years.

Being a collegiate athlete I had always felt out of place. But the skills to go after my goals were sharpened. Being a therapist was a good place for my soul. In that space I found my passion for art. But I quit everything to pursue my dreams of being an artist. Choosing to be an artist I fell into a trance for about 3 years. It was very taxing to my mind, spirit and body. But it is what made me into who I am today.

JS: Your work is very powerful, both your sculpture work and your paintings. I love the allegory of afrofuturism and identity thats illustrated. Why is it about the intersectional experiences of both black and indigenious people that is so significant to you?

MW: When I moved to New York I learned a lot about the history/impact of indigenious people in relation to Africans in the slave trade. Examples like the Mardi Gras Indians or in the Caribbean. Learning that in slavery we weren’t alone. We had allies that were willing to not only fight for us but we crossed our culturals. The similarities drew me closer to finding home and kinship. This made a huge impact on me. Even though I still don’t know where I am from in terms of ancestral roots. I now feel like this land here in the Americas is a safe space for me. The relations that were established with my ancestors here lives inside me today. That encourages my art even more to keep the stories in my masking.

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JS: Who are some artists that you find inspiration in?

MW: Artists that I find inspiration in are FI YI YI & The Mandingo Warriors, Huma Bhabha, Cannupa Hanska Luger, and Nastassja E. Swift.

JS: I think the use of science fiction for us as black artists has a dope way of connecting us to our spiritual roots. That’s part of what makes your work very engaging. Tell us about some of your favorite pieces of yours.

MW: My favorite piece is the purple mask which is untitled. It’s presence is very beastly which can be off putting to some individuals. But it is a reflection. A reflection of my spirit, the passion that sits inside of me. A crucifix sits in the middle of the mask head. A lot of questions have been asked why that is included, my answer is my power comes from God. The next piece that comes to mind is my first sculpture, Ancient Tongue. The name represents the understanding that in the moments of making that sculpture I could speak the language of my ancestors. Crafting the sculpture flowed out of me effortlessly. In the same voice I could speak of a new future. At the time I did not know it was Afrofuturism, I just knew it was a gift from God.

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ROGUE GALLERY

Arthur Sangster Repress Sexual Energy: Holy Art IG @arthursangsterartist

Dejeonge Reese Synthetic braiding hair and chicken wire IG @dejeonge

Arthur Sangster Rarity of a Black Man named Arthur IG @arthursangsterartist

Mandy Ocasio Untitled IG @thesonaarts

Justin Moultrie Durag Activity IG @jjm.art93

Dejeonge Reese Marley IG @dejeonge

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ROGUE GALLERY

Sharard Saddlers Americant African IG @sharardxart

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Maduka Emmanuel Onyebuchi IG @maduk_arts

JAY STONE Lost In The MOOD IG @stoneimmaculate

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JS: We’ve been here before; back in the Fall of 2017. You once said “What does an astronaut do? They explore places in search of finding things... Somewhat certain of what they’re looking for yet just hoping to find whatever’s out there” In the 5 years since, what did you find on your personal journey as an artist? As a black man?

DD: Perspective is important, the world has changed so much in the last few years.

People aren’t the same, we have all became so blatantly selfish & its been a bit of an adjustment for me. The last time we did this, i was only a few years younger but a lot more naive. I knew who i was but i did not know how i was perceived as a young black artist. This business, this world when you start making progress you see that it can be a bit political, talent helps but relationships is what will get you to where you need to be. Thats how it is right now, maybe it’ll change. But this is where we are. I’ve been in situations where im the most talented artist in a room, my work is used as “the draw” and once the audience is captured , they are forced feed something else. This is something I’ve experienced multiple times and it forced me to create my own leverage.

I had to get more hands on in terms on business.

I learned to create opportunities so therefore im the one who has the upper hand in business. Conversations change when your business partners see you have other options, they can no longer treat you as if they’re doing you a favor. As an artist, you are the prize, in todays age, brands, galleries, labels etc, they need you more than you need them. If you build yourself up the relationship you form with these companies become mutually beneficial as opposed to them feeling like they’re taking a chance on you. That’s important.

JS: Lets talk about one of your newer pieces “The Lonely King of Hearts.” You mention some of the inspirations behind it such as “LoveCraft Country” and some experiences you’ve had.

Something we spoke previously about how your daily reflections always bring you back towards your pieces overtime and this was no different. What was your mind state when you first painted that piece and how has it changed / evolved overtime in relation to the piece?

DD: I wish it had changed overtime, The concept came to life in 2019 and was based on experiences in the year prior, throughout the 20 teens, Ive spent a lot of time traveling, Exploring the states. I feel like this so rich in beauty with its geography, so rich in history, a lot that we are not proud of and the aftermath of which still lingers today. My astronaut, the explorer know officially known as the lonely kind of hearts, Looking For Peace In America. Throughout my twenties I was a bit naive in regards to the history of this country, love in this country, and my position as a black man in this country. The lonely king of hearts is about a man that takes accountability for his shortcomings and when things grow bad in relationships with women. I fell in love with the television series “ Love Craft Country” i think its genius. I’ve learned a lot just by watching not just about history but about racist concepts by white supremacists and the most relevant one to my art was a “Sundown Town”. I had no idea it was a real thing or even what it was.

But when I gave it some thought, I experienced a lot of racism and prejudice in different parts of the country and it made me want to explore the idea of looking for peace in America. The trials and tribulations of a kindred spirit exploring a system set up to keep them marginalized, riddled with anxiety and financially unstable.

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JS: You recently held your 4th “Dollar Bin” art event. Can you speak to those who are not familiar with the Dollar Bin? DD: Its an idea that just took on a life of its own. It was a safe space for artists to come together, celebrate each other with those we care for and possibly form new relationships with potential buyers. However what’s most important to me is that I look at DB as a stepping stone for upcoming artists. A Lot of us when we’re “new” we want to get into a lot that the art world has to offer but we don’t know where to start. That’s what DB is for and me and my team made it easy for people to support you know? It was an experiment in a salon basement in 2017. We were hoping 40-50 people showed up. To our surprise we had 150 people in a basement looking at art and engaging with artists and poets. I decided to charge $1 because I was afraid no one with show up and just like that The Dollar Bin Show was a thing. By the time DB3 came about we were having close to 400 attendees.

DB4 was our first event in almost 3 years due to the pandemic. I took on a lot more than usual with DB4. It was stressful and it showed in the event. However, moving forward i am always open to working with other artists and delegating different responsibilities to anyones who’s open to helping me grow this thing even more. The future is bright.

JS: How do you think you’ve evolved as an artist when you consider the current times we’re living in?

DD: I had to evolve as a person first, the last time we did think in 2017, Ill say this though.

I am more conscious of the messaging in my art, looking past just the visual. As a black person thats good at anything i feel like we are always expected to sell trauma, pain, struggle of some sort. So i am very intentional with with everything and i try to be diverse and share positivity in my art just as much as the “ other stuff”

Instagram.com/kurveking THE ECSTATIC 50

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Nore: Loyalty or Respect?

Wale: respect. Loyalty got kinda more sorta a quicker expiration date. Respect kinda last long.

Respect kinda last long. If you do something that gets everyones respect they gonna respect you for awhile. They might not think about you everyday…

Loyalty requires you to think about somebody more. Respect can always just come back around. Loyalty can last for 3 months or til you not getting fed. Loyalty is a mufucka… its gotten alotta niggas in caskets carried by the nigga they wasnt loyal to or wasnt loyal to them.

Respect ain’t gon kill you. It isn’t gonna fuck with you or your family.

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REAL COOL “Once upon a time black male “cool” was defined by the ways in which black men confronted hardships of life without allowing their spirits to be ravaged.

They took the pain of it and used it alchemically to turn the pain into gold.

That burning process required high heat. Black male cool was defined by the ability to withstand the heat and remain centered. It was defined by black male willingness to confront reality, to face the truth, and bear it not by adopting a false pose of cool while feeding on fantasy; not by black male denial or by assuming a “poor me” victim identity. It was defined by individual black males daring to self-define rather than be defined by others.”

BELL

HOOKS

PHOTOGRAPHY BY ROD PORTER CO-STARRING SIMONTTE WHITE

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Instagram.com/siimoblanco

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BY ASH SUPREME

REVIEW DOLLAR BIN IV

Art by Kadeem Phillips

As Dead Wrong by the Notorious B.I.G. plays in the background, Maya Nicole, an abstract and intuitive artist, walks me through one of her pieces I Am Good Ground. An art piece she manifested from a dream of a woman with the tree of life forming over her stomach and growing from her womb, that also glows in the dark. She gushes over The Dollar Bin, “I think it’s beautiful to see so many types of artists come together and show case. There’s no ‘I’m better than you’. We all come together and just create.”

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The Dollar Bin, curated by artist Damian Dickson, Owner of Kurve Studio, is a cultural artistic movement for new and established artists to display their work, network and ultimately vibe with other like-minded folks. As I observed from the beginning of the event with artist set-up, all the way towards the end of the night with a packed house of close to two hundred people, Damian was on site, involved and in charge of the entire flow. “A lot of the artists that are showing here, they’ve never shown before, so I try to put them in a professional situation where I can cater to them as best as I can as a curator and give them a platform where they can show their art with their friends, family and fans.

Potentially make new ones [fans].”

The Dollar Bin once started out as an experiment in 2017 to promote a local salon business. To garner more audience engagement, Damian showed artwork at the salon’s basement and had a turnout of 145 people. Ever since, The Dollar Bin has been expanding and gaining more traction each year.

room was palpable. The community gathered for support enjoying Caribbean food, indulging in drinks, and the DJ playing all the hip-hop classics had the room buzzing in discussion and admiration for one another.

This event fully embraced the support of small black businesses and displayed each artist with care. The venue in Flatbush, Brooklyn gave the community something fun and cultural to attend. I loved seeing all the family, the young faces and friends continuously flow in. The Dollar Bin provided young dreamers with a vision of what their future can entail as an artist. I witnessed an aspirational young man approach our table for the ECSTATIC with his mother, and keenly inquire on the designs displayed before him. He, among many others, were captivated by the room full of visionaries and always stopped to ask and even purchase some of the work.

The love and genuine interest in the

A podcast was also being recorded live at The Dollar Bin. The Art School Podcast created by Mighty Math. His love for the arts inspired this podcast to fruition where he talks to artists of all disciplines.

Mighty Math’s infectious energy coupled with his ambition and busy involvement in the arts is just the kind of artist that is featured at the Dollar Bin. The rest of the night entailed performances from versatile entertainers which encompassed all genres of music. The crowd was engaged and dancing supporting each act. I’m sure each performer left the stage feeling larger than life.

The level of artistry I came across talking to people of all walks of life brought on such a sense of inspiration and exploratory newness for me. It quickly became apparent to me how meaningful of an event The Dollar Bin was for people and how necessary it is to build these types of platforms. “It means the world to me that there’s a platform for me to go to and have people meet my art in person. The most important thing is that I can talk to people about my art and get a sense of relatability within another person, open up their perspectives and get that human connection.” Joelle Cipriotti, a spiritual sub-realistic abstract artist stated, after having an intense but real-world conversation about our self-images as humans and the significance of an introspective self-journey to self-love.

Such a wondrous feeling of being in a

Donuts & Henny

Instagram.com/donutsandhenny

Joelle Cipriotti

Instagram.com/cipofjoelle/

Justin Moultrie

room full of avantgarde thinkers who throw their emotions and survival stories of the human experience into their work, is a feeling and a room more people need to experience. The Dollar Bin has provided such an opportunity to expand the audience’s scope on life, just by making different artists accessible and available to reach new eyes and new thinkers. A beautiful plethora of black people enjoying just what it is to be human, to be artists, to be embraced and honored with so much grace.

The Dollar Bin is exactly $1 for entry. Feel free to donate more at next year’s Dollar Bin. THE ECSTATIC 64

Peace before anything, God before everything Love before anything, real before everything Home before anyplace, shoot before anything Style and state radiate, love power slay the hate Priority!

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Aniyah Monae Photography by Jon Alonso

LIGHTWORK ANIYAH MONAE JS: One thing I noticed about your work is your technique, both painting and digitally.

Your skills stand out very much its clear you take your craft very seriously. When did that attention to detail and finesse begin for you?

AM:It began when I knew what it was that made me want to get up everyday. I just know for sure that Art is my purpose.. you know, Something I’m supposed to be doing. so I always want to make sure that I execute that putting my all into everything that I create and do it to the highest level that I know I can .

JS: Going through your portfolio is a real treat because I didn’t realize you also have digital art in the chamber.

Which is your preferred weapon of choice? Paint brush or the pen?

AM: No way I can choose. They Are both so dear to my heart.

Digital is my first love, it was the tool that helped me get back into creating art, so I am forever thankful for the pen. Painting is also special to me ..in the beginning of the year 22’ I received a sign from God in my dream, he gave me visions of me painting, I was so fulfilled in that dream. I knew nothing about painting nor have I ever picked up a brush 9 months ago, now I can’t imagine Life without it.

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JS: Some of your work is hip-hop inspired; your Busta Rhymes, Spitta and DOOM are some of your illest pieces.

What role does hip-hop play in your life and in your art?

AM: Growing up my parents would always play r&b/hip hop around the house/during car rides and I’ve always had my MP3 player in my ears to the highest volume growing up so that’s where my love for music started. I enjoy painting my favorite artists. It’s my way of saying I appreciate them for sharing their gifts to the world, especially when I can gain knowledge from them .

Instagram.com/monae.artt JS: Aight, tell us about “FRESH MEAT.” AM: Ever since I was younger I’ve always been curious as to what they were serving in our grocery stores and what it was that we were actually putting into our bodies. As I grew older I discovered that there are certain chemicals in meats that may cause cancer,mucus and a number Of diseases if too much of it is consumed “FRESH MEAT” was inspired by MF DOOMs record “Fig Leaf Bi-Carbonate” describing how the FDA approves foods that are poisonous to us and how we should leave it alone if we are not 100% sure what’s in it .

JS: Given the range you showcase in your paintings: what runs in your mind while you’re working on a piece and when it’s finished? Where in the process do you find the fulfillment?

AM:The beautiful thing about this one is that nothing runs through my mind when I’m creating, that’s why I love it so much. it’s my chance to free my mind of thinking and let it flow out through my hands. My fulfillment comes when I Finally finish a piece, it’s rewarding to see a canvas go from nothing to something. I have to take a moment sometimes to look back on my work like yea i did that and will continue to ! Every time.

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Words Hurt

By Maxine Myles Words hurt They crumble me Down to my bones Sending chills all over me Nerves alert Got me Feeling hardwired Words humble me They cut deep Wounding the more they repeat Digging deep What’s that spiral thing that gets the ice cores?

They’re Cutting me Words fumble me Jumble me into a contortionist I’m bent Your words make me get a grip on reality Have to smack myself internally Just to see if I’m still breathing After the first blow It’s like a slow ricochet of emotions Overflowing These words float about me Fluttering at every turn I hear a voice echo inside of me These words are haunting me Daunting me Hanging over me like rain clouds on a foggy day They could breath life into me Affirming feelings

Instagram.com/missmaxinemyles

Good and bad These words tangle me In a web of spun out thoughts Trapped inside of me Your words comfort me On days when I’m feeling less than at ease They stay inside of me Lifting my head up and bringing life into me These words quiet me Deep breaths Calm my head Keep me out of the spiraling THE ECSTATIC 72

The Oracle itself is indefinite: it’s a simple warning. If you tense up in rejection, the power of love will not be able to do anything.

Conversely, if that strength takes on a sense of courage within you - both to love and to accept love - then

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INTERVIEW BY JAY STONE

PHOTOGRAPHY BY ROD PORTER

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THE CHILDREN SHALL INHERIT THE EARTH JJ Pinckney

E

Instagram.com/found.wonder

JS: One of the first things I learned about you was that you don’t sketch out your work prior to working and putting down the piece itself.

Knowing this and seeing the abstract nature of your work, what is that process of conceptualization like for you? Especially afterwards when the work is presumably done?

JJ: I’m constantly using references from my environment and placing them within the given pictorial narrative. Painting is problem solving 101, I see the challenge for creatives is continuously always allowing yourself to be fluid throughout the process. Improversation is key, trusting your gut is a cheat code in almost all cases.

JS: One of your pieces that I found very intriguing was “Washing my hands in the water you drown me in.” I can see how one can interpret it through the lens of days where we had “White” and “Colored” water fountains. For me I also thought about the Flint Water Crisis.

The piece is deep. Can you describe what you wanted your audience to take away from that?

JJ: Yeah so when I was making this piece it was apart of a series made during the George Floyd / Breonna Taylor social outcry. It made deep dive into my research of the Atlantic slave trade and roots of our Black American social demise. Many of the captives aboard the JS: In today’s ever evolving social climate, ships to the Americas didn’t make it, thrown what would you consider is the biggest chal- overboard as loose cargo. Though it is said in lenge as an artist? How do you push back in our indigenous African religious occultism, your work? great deities would welcome everlasting life JJ: The challenges are first defined within the to those deceased people. Protecting the seas artist, what their going though, how their against colonists and those that wish evil unto processing emotionally; both internally / our people. That really brought it home for me. externally. I can only speak as a black person that working within a field that rewards inJS: Which piece of yours embodies who you are stitutional nepotism, it can be difficult findthe most and why? ing out the right information to grow within JJ: I don’t really have a piece that embodies your career. Pushing back is key, firstly being me as a whole I don’t think. And that’s probaour resistance plays the central role of social bly because I have too many paintings at this & environmental justice. We build our compoint, there is extended vessel that creates for munities based on our lack of resources and me now. I’m honestly sitting back supervising like-mindedness. This helps break the barriers the practice. I think all the pieces have a spedown built and sustained by gatekeepers. cial place in my mental archive. They hold a space in time that brings me back to moments, JS: Given the themes found in your work, thoughts, memories. where do you draw inspiration from?

JJ: Everything about me has some form of narrative surrounding the black community and comedic satire. I find myself interpolating the role of Ted talk speaker and stand up comedian. Social justice reform is big for me, our history as a people is deep both beautiful & ugly yet undefined in many ways. I’m continually exploring what that is and how those themes can be extracted and presented.

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JESUS IN THE WILDERNESS

JJ Pinckney JS: As a fellow artist, I understand the desire to want to break the chains that control many artists based on Eurocentric ideas of what is considered “High Art” or just what is considered art and how that can affect us creatively. Its why I like the fact that you call back to 1980s expressionist graffiti artists. What do you want people to come away with from your artistry?

JJ: Breaking the barriers is a fluid situation, it’s different for everyone but that’s the greatest part. We’re inventing our own ways to dismantle status-quo, our ideas are being synthesized as demolition. Black people around the world are creating there own tools used to break a very familial chain. The work I hope has the space to be received from wherever you are mentally, the compositions erodes classical principles & ageism. My work will hold space for all people, anywhere, throughout the course of time.

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LALA

Instagram : @dreamhill888 LOCATION: Dreamhill, the Land of LARTSYS (location not yet found) SUPERPOWERS::artist; can manifest anything I imagine in my head, using my hands + wand spiritualist; access to knowledge that evolves my consciousness herbalist; creator of fairy potions that heals, cures + uplift personalist; ability to constantly push past my limits by overcoming any obstacle can also switch between fairy form + human form DAY TO DAY: Simple, yet ethereal self sufficient lifestyle. I live on a land that is only accessible to those with an open mind, kind soul + the want to find Dreamhill On Dreamhill - the Land of LARTSYS, I handle all the requirements for taking care of our dreamland.

I, Felicity along with other fairy friends work together to ensure the sufficiency of our people, as well as our land.

Daily tasks include, taking dips in the river, frolicking through the forest, creating as much beauty as able with paint, live music, etc, teaching one another through communication + positive actions, searching for newly sprouted herbs + preserving them for fairy potions + herbal remedies + a lot more!

My overall daily tasks consists of taking care of the land, it’s people, while bettering myself in the process. Doing all of the things that bring me happiness is what elevates my powers to its highest potential PETS: various animal companions that we coexist with on the land including horses, birds, dogs, ducks, rabbits + goats

ASH SUPREME The Mother Of Celestials

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