3 minute read

K aviya Ravikumar

ax Scholl

The art I create is likely equivalent to that of your average 2nd grader. My skill set consists of mediocre stick figures, coloring within the lines, and tracing generic diagrams. All I have managed to master in my years of life is breaking my crayons and starting a collection of empty white-out dispensers. And yet once a week, I find myself in a stimulating arts incubator, Contemporary Arts Museum Houston’s Teen Council, that encourages me to outline contemporary themes, collage perspectives, and illustrate a path to my community.

At first, it didn’t make sense why I would choose to immerse myself in a world I knew so little about. What could I possibly contribute to this community? For the longest time, I had attempted to confine my identity within the boundaries of that traditionally successful student in STEM, ignoring any other nuance that didn’t align with that narrative. Much like in Aileen Zhang’s Color Theory, where the child is portrayed painting herself purple to cancel out the yellow undertones of her skin, I felt as if my identity was contradicting. In order to satisfy myself and those around me, I had to choose the niche I wanted to occupy and blend in. But when I saw that painting, I would stand and stare a little bit longer. Of course, I knew nothing of the technical work that accompanied the artistry, but there was still a part of me longing to understand why I was so captivated. Through Teen Council, my longing materialized. Art is a universal language that can be translated anywhere into the lives of those that experience it, no matter their background. I quickly realized my atypical perspective was not a nuisance to our work, but rather contributed to the diversity of thought within our team. I chose to broaden my perspective and welcome a change in the identity I had previously defined for myself. Inspired by Sophia Reinhardt’s Large Spike (Bound Bodies), (2022) I was ready to take up the space I deserved and create a new niche that those around me would conform to, rather than the other way around.

Reflecting recent shifts in the socio-political sphere, Where Do We Go From Here? displays the artists’ personal transformations that have shaped their identity. As teenagers, this is one of the first times in our lives that we are able to consciously maneuver through our past and present realities, modifying our identities with increasing independence. Each piece housed in this exhibition marks such a modification in its creator’s life. Ava Finch’s Days of Yore Transfigured Crimson (2022), reminds me to give grace to my past realities and appreciate the role they played in shaping who I am now, just as Finch mirrors her childhood self in this powerful portrait that symbolizes her growing into her artistic identity. Being able to create a space, like this exhibition, where these initial changes in one’s life are celebrated rather than overlooked was important to me. There is a certain level of vulnerability that comes with confronting change and presenting your experience to the world. It is a testament to one’s mental, physical, and emotional capabilities to be able to successfully forge a new path forward after deviating from one’s comfort zone. Where Do We Go From Here? epitomizes the will of my generation to navigate their conflicted identities. Inspired by my peers, I too will embrace my evolving self and look forward to where I go from here.

Saj Baldwin

Dreams of the Sublime, 2022

Graphite, charcoal, paper, acrylic paint, gesso, wood, and foam core mat

Saj Baldwin

Hoodie, 2022

Graphite, charcoal, toner transfer, acrylic paint, and gesso on paper

Beau Beaudette

A Required Answer, 2022

Video: color, sound, 1:56 minutes

Reflection and Duality, 2022

Textiles and acrylic paint on canvas

Amelia Craypo

Musical Insides, 2022

Air-dry clay on canvas, acrylic paint, paper, hot glue, wire, glue, clear gloss sealant, and stuffed animal fur

Allison Cully

Reflections, 2022

Flowers, styrofoam sphere, mirror tiles, glue, fishing line, and motor

Thanh Duong

Historical Animal, 2022

Acrylic paint on canvas

Ava Finch

Days of Yore Transfigured

Crimson, 2022

Color pencil and oil pastel on paper

Olivia Forque

Eye For An Eye, 2021

Oil pastels, acrylic paint, ink, and charcoal on cardboard

Gisselle Galeas

Me and Medusa , 2022

Digital photographic print

Ryan Kirkpatrick

Little Queen, 2022

Acrylic paint, Micron pen ink, and Sharpie on construction paper

Seeing the Light, 2022

Fired and glazed ceramic

The Search For the Phantom Limb, 2022

Textile, acrylic yarn, buttons, PVC plastic, tulle, sequins, ribbon, thread, freshwater pearls, fringe, wire, electrical tape, spray paint, and adhesive on peg board