Artifacts of my inner portals by Sudani Shaah

Artifacts of my Inner Portals BFA Thesis in Craft & Material Studies by Sudani Shaah

Untitled, 2022, water-marble photograph

Table of Contents Get to know me .......................................................................2 Artist research..........................................................................4 Context......................................................................................6 Afro-Futurism .......................................................................10 Cymatics.................................................................................12 Proposal..................................................................................14 Conclusion..............................................................................16 Glossary..................................................................................17 Bibliography...........................................................................18

Merfolk, 2023, printed copy paper, 11 x 8 inches

Get to know me My origin story begins December 30, 2000 in Detroit, Michigan. I was born on the 5th day of Kwanzaa called Nia which means purpose in Swahili. Since my arrival at birth I feel everything thus far in life has been very intentional and divine. I’ve always felt out of place in life but exactly where I am supposed to be at the same time.

As of lately I’ve really been coming to understand that life is what you make it. Living in my truth is walking in my purpose. My artwork, my blackness, my femininity, my path, who I am at my core is all

So I was exposed to a variety of different cultures, beliefs, traditions, and so on. My interest growing up tended to be very sporadic. I remember wanting to be a zoologist, a marine biologist, a football player, a cheerleader, a unicorn, a forensic scientist, a model, a singer, a fashion designer, an interior designer, a photographer, and a trend forecaster.

In understanding the spectrum of myself, the persistent mix of aesthetic choices is recurrent in my themes, genres, and work processes. Now pertaining to my work, as I enjoy exploring through different mediums and genres I practice and study ways I can collage my interests together. While also identifying ways subjects are connected.

In my living room with my work from freshman to junior year- 2022

dependent on me and what I want for myself in this lifetime and those to come. Thus far I’ve been on a long journey of connecting dots and learning my identities, where I come from, and where I’m going and so much more. I am defining and piecing together my reality day to day. Using keys from my past to currently create the foundation of my Moms Studio- 2007

future.

I grew up within so many different communities that contributed to this collage of what makes me who I am today. I was raised in both Detroit and Ypsilanti Michigan, immersed within the many facets of creative, Afro-centered, and blue collar communities. Along with growing up in a large and very close knit family. I was surrounded by people that came from many walks of life.

My first solo show at Detroit Contemporary Gallery next to two of my pieces from the show.- 2022

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Artist Research Secrets of Torus Explained , 2023, Paradesco

A spiritual practioner left me with this phrase after giving me a reading.-2022

The bodies of work I have created thus far consists of collage, tapestry, body adornment, sculptures, and functional pieces for spaces. I use a multitude of materials to create my pieces. Some of the main recurring materials include found objects, an array of fibers & fabrics, metals, acrylics, beads, natural resources, paints & dyes, and digital softwares. I use these materials to help execute my many creative processes such as batik dye painting, sublimation printing, screen printing, painting, sculpting, felting, sewing, a variety of dye methods, and application of digital fabrication.

My work tends to be interdisciplinary. So I may mix these materials and processes depending on the project and if I feel drawn to do so. I work with materials that appeal to my senses and that compliment the context of the piece. What feels good, smells good, looks good, or what best portrays the mood and feeling behind my idea. Sometimes that may not always look or feel particularly “good” or “nice”; it’s about what fits.

My torus motifs and design during development.-2021

My ideas and inspiration tends to come about through being present in my everyday life and paying attention to the things around me. Things like objects, conversations, people, current events, dreams, visions etc. I always tend to tie these things back to my own spiritual research and beliefs. I often Recognize patterns in my inspiration and spiritual journey which I use to drive most of my research and making processes, connecting back to my work. A lot of my past work has consisted of my exploration in trying to portray my spiritual journey through making. Like how life tends to come full circle in so many areas. I tend to use my designs to represent the essence of the infinite. I would focus heavily on material research, technique, and different ways of applying symbolism through textiles.

Research and process is about 80-85% hands on for me. I prefer apprentice style learning, whether it’s through conversation, teaching, or assisting. My community always plays a huge part in how I develop.

I wouldn’t be able to do my work without them. The other 15-20% portion of research and process involves me individually sourcing information through, reading, exploring, media consumption, and a ton of contemplation. I enjoy jornaling to help organize my thoughts, processes, plans, and what I’ve learned.

Along with the act of making as a form of research. Through a series of testing techniques, ideas and creating “mock-ups” to see what works well together is also how I determine my process of making my vision manifest physically.

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Mask #1, 2021, Denim

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Context Representation through symbolism, design, and iconography I am working toward developing stronger ways of conveying representation through symbolism by referencing and sourcing inspiration from sacred geometry and adinkras; all attributes that illustrate different forms of communication. These alluring motifs hold powerful and deeply rooted meanings throughout the history of their cultural significance. Whether it is to convey an emotion, tell a story, or to illustrate spiritual and philosophical teachings.

Off My Back, 1995, Acrylic on Canvas, by Kwesi Owusu-Ankomah

In studying these topics I have been referencing two books to help guide me in my studies.

The first book Adinkra! symbols of West Africa, which discusses how Adinkras are visual symbols that represent concepts or aphorisms. These symbols are often used in fabrics, pottery, and other cultural artifacts, and they carry significant meaning within the Akan culture of Ghana.

The second book The Ancient Secret of the Fower of Life, which discusses how interconnected circles within the flower of life are thought to represent the interconnectedness of all life and the unity of the universe. The pattern is also believed to contain within it the geometric forms that are fundamental to the creation of the universe. Believed to communicate profound truths about the nature of reality, the interconnectedness of all things, and the underlying geometric principles that underpin the universe. This symbolism is thought to convey a deep spiritual and philosophical significance.

One main recurring theme you can see in my designs is the illustration of the infinite through repeating patterns and forms that continuously flow back into themselves. By doing this I am creating visual manifestations of my understanding of the journey of life and the energy of the universe. This theme has been very significant and sentimental to me in my spiritual development and growth as a person. With themes such as these and others I have used I am communicating what I consider direct reflections of myself.

“-Many people have given explanations for it, but there’s another explanation hidden behind the geometry of the tetrahedron. That idea probably went over almost everybody’s head, including mine, in a way. But it’s there and we’re working on it now.”

Spirographs, 2018-2022, Jason Revok

-Drunvalo Melchizedek, The Ancient Secret of the Flower of Life, Vol. 1

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Cultural artifacts I am also studying how artifacts play a role in representation as objects by referencing and examining sculptural and functional pieces and what the development of these pieces mean and look like. Cultural artifacts can include art, literature, music, clothing, tools, and more. They serve as tangible symbols that represent the multifaceted nature of human societies, offering a window into the traditions, innovations, and expressions of diverse cultures throughout time . Certain relics can teach us about technology, daily life, spiritual beliefs, identity and more relating to a society.

Mask #2, 2023, sumblimation printed acrylic

In my past work masks have been another recurring theme I have created. Because of Covid, masks became a necessity to everyday wear almost overnight. Exploring what the effects of having to wear them had on society, art, and even me personally became my focus. For me masks have symbolized an emotional expression, physical protection, and a way to conceal the person wearing them. In my exploration of masks I have discovered the relationship with my subconscious and how I’m perceived by the outer world. It’s a relationship that I’ve always struggled with accepting and being comfortable within my growth throughout life. Through conversation about my work and studies throughout covid, I’ve learned that I’m not alone in these feelings and thoughts and that the era of wearing masks had a huge impact on my community and the world at large. Because of this stamp in time and its effects on society we as a world have redeveloped masks as a cultural artifact.

Kef Parker sculptures

Mask #3, 2023, Felted wool and assorted beads

Some of the Things We Wanted and Didn’t Want, 2018, Plaster and

arylic, 20 x 16, by Lakela Brown

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Father Son Holy Spirit, 2021, African cotton fabric, wire, yarn, acrylic paint and aluminum, includes sound. 34in x 55in, by Shaqui Reed

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Afro-Futurism and how it’s applied

Afro-Futurism is a cultural, artistic, and philosophical movement that explores the intersection of African and African diasporic cultures with technology, science fiction, and speculative fiction. When it comes to cultural resilience, Afro-Futurism imagines a future where African cultures not only survive but thrive, challenging historical narratives of oppression.

Merfolk, 2023, cardstock paper, My exploration of imagined mermaid Human hybrid bodies ater jumping slave ships for freedom

In terms of identity and representation, Afro-Futurism redefines the narrative of Black identity, providing a space for diverse and empowering representations in literature, music, art, and film.There’s also a technological aspect of innovation as well Afro-Futurism embraces technology as a tool for empowerment and envisions a future where Black communities actively participate in shaping technological advancements.

Its imagining a future where Black people are not only present, but are central, where we are not caricatures or tokens, but are fully realized and empowered, where our stories are told in all their complexity and nuance, where our past, present, and future are woven together in a rich tapestry of culture, technology, and magic.

My use of Afro futurism is present in me drawing connection to my own roots in claiming, defining, and discovering who I am and where I come from and where I am going to. Along with many other descendants of indigenous Africans, I too have been disconnected from my land and my roots and my history. Disconnected in ways that have had a profound impact in many areas of my life. I am reclaiming my path in life, my identities, my spirituality, my freedom, and so much more through afro futurism in my work.

Smithsonian National museum of African art exhibition’ From the Deep: In the wake of Drexciya with Ayana V. Jackson ‘When the spirit of Kalunda comes so does Kianda’

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Scene of Hippolyta’s space adventure from Love Craft Country. Hippolyta viewing her lives on different timelines in different universes

I plan to study my own family roots and reference specific elements of my heritage and culture within my designs.

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Cymatics and how it’s applied Cymatics explores the relationship between sound and physical matter. The term “cymatics” is derived from the Greek word “kyma,” which means “wave,” and it refers to the study of how sound waves can create geometric patterns and structures in various mediums such as liquids, powders, and pastes. It offers a glimpse into the profound influence of sound on the physical world, inspiring both scientific exploration and creative expression.

In studying cymatics I am developing a new way of symbolism within my practice.

I’m exploring the traditional rituals, ceremonies, and music where frequencies were believed to have therapeutic effects. I am currently working on ways of intentionally weaving my own messages into sound that I can use to develop my original cymatics. By delving into the intricate relationship between sound and matter I will be bridging the gap between the sensory experience of sound and the tangible, visible effects it produces.

In “The Source Field Investigations,” David Wilcock discusses the potential implications of cymatics, stating, “Cymatics is a science of how sound creates structure and form. It is one of the most powerful proofs that sound can organize and animate physical matter.”

Creatively many paths can be taken with the use of cymatics. Artists can incorporate its visual manifestations into work to create mesmerizing and thought-provoking pieces that bridge the gap between science and art. Offering a unique perspective on the relationship between sound and form.

In his book “Cymatics: A Study of Wave Phenomena,” Hans Jenny, a Swiss medical doctor and pioneer in the field of cymatics, wrote, “The shapes, images, and patterns we encounter in cymatic images can remind us of many things in the natural world, from the forms of galaxies to the shapes of flowers and the patterns of snowflakes.”

My own development of Cymatics.

Cross my Heart, 2013, Ben Browne

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Journey to curiosity Cymatics

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Proposal

Cymatics becomes a powerful lens to explore Afrofuturism symbolically. There is a rich history of sacred geometry in African cultures, where patterns and symbols hold deep spiritual significance. The visualization of sound in cymatics mirrors the rhythms, beats, and vibrations in traditional African music, connecting cultural roots to futuristic expressions. This empowers African Diaspora Narratives, it explores how incorporating cymatics into Afrofuturist art can empower narratives within the African diaspora, creating a visual language that bridges ancestral wisdom with future possibilities.

A visual ideattions of my Idea for SEO setup.

I plan to apply these themes to a series of artifacts; A fibers-made book, lampshade, and soft sculptures. Along with a video displaying my own developed sound, cymatic, and demonstration. My goal is to create an installation of work that invites the viewer to see reflections of me through my pieces. Giving a direct visualization of my personal narrative. That being of a cumulation of my life experiences, key memories from childhood, spiritual growth and connecting to my historical roots.

Snapshot of recording of my first attempt at creating cymatics.

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Practice of my lamp shade construction attempt.

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Conclusion Afro pic, 2020, upholstery

fabric

My first studio sophomore year.

petridish brain , 2021, digital

The ending is only the beginning…

My experience here at College for Creative Studies has profoundly affected my life which can be seen directly through my work, how I practice, and what I practice. I will forever be grateful for that.

My thesis is a body of work that is very sentimental to me. These are ideas that have been brewing inside my heart, mind, and soul for a very long time now. I believe that after it’s completed I will continue to further develop my understanding of my themes and techniques and continue to build off of what I have started.

My current studio in my last year.

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network, 2022, watercolor

Ti Koro Nkyo Agyna, 2023, Upholstery fabric

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Glossary

Bibliography

Nia- purpose in Swahili Robinson, Mimi. “Adinkra! West African Symbols.”

Collage- bringing various different materials together to create something new

Symbolism- an object, image, word, or action that stands for some-

thing beyond its literal meaning. It conveys deeper meanings, emotions, and messages to the audience.

Sacred geometry- encompasses a wide range of geometric symbols

and principles that have been ascribed deep spiritual and metaphysical significance.

Cultural artifacts-Cultural artifacts are objects, items, or elements of

material culture that are created, used, and preserved by a particular society or group.

Afro-Futurism-Afrofuturism is a cultural, artistic, and speculative

fiction movement that explores the intersection of African and African diasporic cultures with technology, science fiction, and visions of the future. It encompasses a diverse range of creative expressions, including literature, music, visual arts, film, and fashion, and it often reimagines historical narratives, societal structures, and technological advancements through a lens that centers on the experiences and perspectives of people of African descent.

Cymatics- the visualization of sound/frequencies through matter

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