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jazzyhistorian
Artfully New Historical Perspectives
Immerse yourself in a new creative experience, exploring the long-neglected narratives of Black Cherokee Freedmen.
Art Portfolio of the Jazzy Historian
Influenced by formal education and lived experience, the Jazzy Historian is always looking to piece together the truths of the world and identify their place within it. This portfolio showcases how that directly translates to their work as a collage artist and creative visionary.
Keys to Heaven
This piece depicts an ancestral altar atop a piano. The altar, composed of a candle, figure, bible, money, perfumes, beads, flowers, shells, and images serves to honor the women depicted. With the women spending so much of their life at the piano, this piano now serves as an altar and resting place. The women who now rest on the altar are the artist’s paternal grandmother and great-grandmother. These women, along with the artist’s paternal great-great-great grandmother all played piano in the church. The artist utilized the book of Mark, her father’s namesake, to create the piano keys. The sheet music for “Amazing Grace” is included, reinforcing how integral spirituality is to the nature of the piece. The altar is covered in a stunning lace fabric which adds elegance, texture, and a 3-D element to the piece, bringing it to life. This piece remains deeply personal to the artist as a tribute to her loved ones who have passed. “Keys to Heaven” serves as a resting place for the women of the artist’s paternal line.
Red Dirt Ready
This piece depicts a Black man in a tailored suit lying in his final resting place with the words “Casket Sharp” serving as a header and footer. “Casket Sharp,” normally a compliment of how well one is dressed, adds a chilling layer as it points out the significance of Black Dandyism and the complex reality of the Tulsa Race Massacre in the Greenwood District. Inspired by the Metropolitan Museum of Art’s exhibition theme of “Superfine: Tailoring Black Style,” the artist considered how people living in Tulsa’s Black Wall Street were some of the most affluent and well dressed individuals in the nation. The unfortunate history of the massacre, which remains the deadliest act of racial violence in U.S. history, is that countless Black people lost their lives and were dumped in mass graves. This piece aims to humanize the lives lost, as those who once lived aimed to humanize themselves through dandyism and their personal style. The use of denim, historically referred to as “Negro Cloth,” as a material for the tailored suit adds an element of depth, highlighting the way that Black people make the most of the circumstances they find themselves in, the same way Black Tulsans did with their segregated neighborhood. Oklahoma is known for its signature red dirt, which is why Black Tulsans who were fine and dandy, or casket sharp, were “Red Dirt Ready” the night of the massacre, giving this piece its name. “Red Dirt Ready” serves to honor the lives of the people of Black Wall Street, giving them a dignified resting place and showcasing their style.
O.G.
This piece depicts a Black man riding a cow with the words "Original Cowboy" serving as a header and footer. "Cowboy" is in quotes, highlighting the historical significance of the term, which explicitly means a Black man who tends to cattle. "Cowboy" is in different shades of brown to mirror various Black skin tones. The man riding the cow shows a flashy smile with gold teeth while wearing blue and yellow, the colors of Will Rogers High School. Will Rogers was a Cherokee Indian who grew up with Black Cowboys in Oklahoma. These Black Cowboys taught him roping skills and showmanship. Will Rogers, a descendant of Cherokee lawmen and a famous movie star, took "cowboy" Hollywood, losing its historical meaning. This piece remains deeply personal to the artist, as a Black Cherokee Freedman who is a descendant of Charley Rogers, a man enslaved by the Rogers family. The artist's father, who attended Will Rogers High School, has been a cattle farmer, or "cowboy" since childhood. The piece depicts the artist's father in his signature grill, wearing his alma mater colors, and featuring his personal brand on the cow. The use of materials depicting brick and wood add a layer of depth, echoing how foundational the history of Black Cowboys is to the nation. "O.G." serves to educate the viewer on the true history of the Original "Cowboy."
Whose Freedom Day?
This piece depicts the hand of a Black person holding a roman candle that emits blood splatter instead of a firework. The background alludes to celebration with a confetti-like appearance. The red and white stripes of the roman candle paired with the blue background echo the colors of the American flag, highlighting the Independence holiday. "Whose Freedom Day?" challenges the narrative of the 4th of July being a day of celebration, acknowledging that Black people in this nation had and continue to shed blood for this country.
Self-Liberators
This piece depicts a Black hand in bondage holding a bundle of flowers being freed by a Black hand adorned in gold jewelry. The painting reads "WE FREE OURSELVES, CUZ WE AINT DEAD YET," echoing the essence of the image shown. The hand in bondage grasps three periwinkles, a flower which enslaved people used to provide themselves with an honorable burial. The bundle represents both the multitude of lives lost and the delicateness of care, reflecting the often ignored humanity of people in slavery. The hand in bondage represents the Black experience of the past while the adorned hand represents a more contemporary Black experience. The hand which breaks the chain is wearing gold and gems, alluding to the modern Black person, free of enslavement, free to be delicate, and free to experience the luxuries of life. A double meaning may be added, as the gold chains on the adorned hand may allude to the modern bondage of capitalism, providing the illusion of freedom while introducing new forms of oppression. The painting sits atop the pages of "Twelve Years a Slave: The Autobiography of Solomon Northup," a man who was kidnapped and sold into slavery, then worked to free himself against all odds. "Self-Liberators" reminds the viewer that the freedoms Black people experience in this country are a result of the tireless efforts by a people who worked and continue to work to save themselves.
***This piece was created in tandem with another artist, Anna A. While this artist came up with the design conceptualization, honoring the history of Black Self-Liberators, Anna's skills brought the concept to life, adding beauty and elegance to the narrative.
***This piece was created in tandem with another artist, Anna A. While this artist came up with the design conceptualization, honoring the history of Black Self-Liberators, Anna's skills brought the concept to life, adding beauty and elegance to the narrative.
Hometown Hoedown
"Hometown Hoedown" highlights the vibrancy of the rich culture from the artist's hometown. A Black Cherokee Freedman and descendant of people who escaped the Tulsa Race Massacre, an attack on "Black Wall Street," the artist showcases their roots. With an African-facing global focus, the artist's indigenous and Black heritage is shown colorfully to reaffirm the liveliness of their personal history, one often left out of Western narratives.
New Black Renaissance
Featuring Black art and Black art spaces, "New Black Renaissance" highlights art through the eyes of a new generation -- young, gifted, and Black.
FEEL THE LOVE
This piece features different views of the Double D's Cocktail Club in Dallas, Texas. An established safe space for the Black community, Double D's is warmly captured, reflecting the welcoming nature. "FEEL THE LOVE" shares the artist's perspective of a space which is personally significant to them.
Face Us, Face Yourself
This piece depicts the humanization of Black people in a multitude of ways. Central to the piece is the concept of Black citizenship, as the viewer is forced to face Black people if they want to understand their own democracy. Black community is also a focal point, finding power in numbers. Black music is prominent as well, featuring the way that jazz music enlightens the listener. Black freedom is expressed through vibrant colors and traditional patterns. Black Cowboys are also represented, something deeply personal to the artist's family history. "Face Us, Face Yourself" challenges the viewer to see the humanity of Black people and reflect on societal dehumanization.
Loveboat
"Loveboat" highlights a couple's romantic journey around the city.
Golden Girl
This piece depicts the sun as an artist who is creating a bright future. The artist created this to honor herself and the life she is working towards by pursuing her creative expression. Full of energy and life, "Golden Girl" invokes a sense of warmth, radiance, and celebration for the viewer.
Walk In Your Light
This piece depicts an illuminated pathway leading into a star portal. The color block of the star echoing the colors of the pathway alludes to the infinite. "Walk In Your Light" reminds the viewer to continue on their enlightened path.
Colors I
"Colors I" is an abstract painting. Done using only primary colors, black, and white, it highlights the artist's appreciation for creation of and through color.
Tree of Life
“Tree of Life” depicts a natural scene highlighting a tree before a dusky sky.
Free At Last
Showcasing the artist's graduation festivities -- a concert and trip to Charleston, South Carolina -- this piece remains deeply personal to the artist. Pursing a Bachelor's degree with a double major in History and Social and Criminal Justice, the artist's formal education and lived experience is integral to their work. Highlighting Black joy and honoring Black life, "Free At Last" is a documentation of the freedom found by the artist after finishing their undergraduate career.
Interga-Black-tic
"Interga-Black-tic" depicts a celestial Black woman enlightened through a rainbow by the golden, omnipotent eye.
B.A.P.
This piece depicts different aspects of a luxurious life, as defined by the artist. “B.A.P.,” or Black American Princess, serves as a vision board for the artist.
Colors II
"Colors II" is an abstract painting. Done using only primary colors, black, and white, it highlights the artist's appreciation for creation of and through color.
The Sun Still Shines
This piece depicts a woman facing the sun as she stands on two cups in a pool of water. In tarot, the two of cups represents a union. In this piece, the two cups are upside down and have spilled, signifying the end of a union. In the face of this loss, the woman remains empowered, standing on the cups and facing the sun, accepting its warmth as truth. “The Sun Still Shines” reminds the viewer that, even when things do not work out as expected, there is still solace to be found as long as you are alive.
Revelation
This piece was painted in the portrait orientation. The artist painted this with no intention or goal, simply to play with color. Upon finishing, the artist turned it to landscape orientation and a beautiful natural scene revealed itself. “Revelation” serves as a reminder to stay the course, even if it does not seem to amount to much, as it will all pay off in due time.
Sit Back, Relax, Enjoy the Ride
This piece showcases different scenes of peace the artist experienced while traveling. Evoking a sense of tranquility while remaining alluring, “Sit Back, Relax, Enjoy the Ride” reminds the viewer to enjoy life as it comes.
Creator
This piece showcases the way the artist chooses to keep color and joy in their day. Featuring whimsical displays of color, “Creator” highlights the way the artist views life and the world they make.
Texas Tea
This piece showcases a day in the life of the artist, during their time living in Texas. Featuring higher education, faith, color, and keeping the Black identity at the center, “Texas Tea” represents an average day in the life of the artist.
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