While debating demanding topics such as race, religion, or war, it is simple enough to become polarized, and see situations in either black or white, right or wrong. These tactics may satisfy individuals whose position depends on employing policies or implementing strategies that promote specific agendas for a specific constituency. As an artist, it is more important to create a platform that moves us past alliances, and begins a dialogue that informs, questions, and in some cases even satires our divisive issues. Without this type of introspection, we are in danger of having apathy rule our senses. We can easily succumb to a national mob mentality, and ignore individual accounts and memories. With my work I am creating an intersection where body and place, memory and fact, are merged to reexamine human interactions and cultural conditions to create a narrative that requires us to be present and profound.
Spring - Summer 2021 “Game Theory”
A physical representation of the risks that Black people take on a daily basis moving through physical, social, and psychological space.
Jud Bergson interviews Rodney Ewing and Tahiti Pehrson’s “What Kind of Cool (Will We Think of Next)?"
Lo-Fi Podcast Ep. 28: Rodney Ewing w/ Guest Host Cindy Shih (USA) Sep 23, 2020
"Stories That Don't Get Told"
9 Questions for Rodney Ewing
YBCA: Exposing and Empowering Personal Agency by Fiona Ball May 22, 2020 "2020 Census"
PUBLIC ART WORKS
The mural at 3150 Jackson street was a response by the homeowner of the lack of visibility of BLM in her Pacific Heights neighborhood. I chose to combine the images of Ahmaud Arbery, Breonna Taylor, and George Floyd and the text from Saul Williams's poem "Release" to highlight the existence and complexity of how these individuals lived and died. While the poem makes no direct reference to any of three, the content and beauty of the language serve as a type of eulogy for these individuals.