Feminist Future(s) Art Exhibition

Between the Future and the Familiar

Opening night Tuesday May 18th, 2021 8-9:30pm ET

Watch the livestream

Three artists transform seemingly everyday pieces of life—ambient beats, biblical stories and baby clothes. Things we retain such an instinctive familiarity with, we overlook their capacity to change.

However, the origins of a feminist future(s) is already present in the raw materials all around us. Words are waiting to be recast. Objects are restless to be repurposed. The future is here, dormant, just underneath the familiar surface.

With a synthesizer, a pen, and a sewing machine, three artists cleanse the familiar to make way for the future. Maryam Qudus’s electro-punk harmonies and vocal deadpan riffs underscore the exhaustion of injustice. Wairimu (Grace) Mugo’s poetry weaving together girlhood memories, the Book of Genesis, and Earth-based spirituality liberates each thread from the confines of linear narrative. And Krystle Lemonias' collages literally dismantle the very fabric of care work, refashioning old baby clothes into a portrait of her mother, who is also employed as a nanny.

In this backyard, tucked into our virtual secret garden, feminist future(s) are simply the present remixed, reworked, and reimagined. Welcome.

Maryam Qudus (Spacemoth)

Maryam Qudus (Spacemoth)

Wairimu (Grace) Mugo

Wairimu (Grace) Mugo

Krystle Lemonias

Krystle Lemonias

 

Spacemoth

 
 

Devotion to music has driven Spacemoth’s Maryam Qudus (website)—a performer, composer, and now sought-after producer—for as long as she can remember. At age twelve, she traded chores for guitar lessons; at sixteen, she took on after school jobs to pay for voice lessons, learning to drive so she could take herself to both. Qudus is the first-generation Afghan-American child of working-class immigrant parents, who she describes as encouraging, but apprehensive about her earliest creative pursuits. “Afghan culture has informed my identity with so much wonder and beauty, but has also challenged me”. Being a female musician was not common in the Afghan & Muslim community, and women who chose that path received a lot of heat,” she explains. “I did it regardless of cultural acceptance and my family’s approval. I knew if I followed my dreams, I could start breaking cultural barriers—both Afghan and western—and hopefully pave the way for those around me to feel like they could do the same.”

First single “This Shit,” with deadpan delivery, eerie harmonies, and octave-jumping synths (reminiscent of two of Qudus’ favorite projects, Broadcast & Stereolab), was written after the election of “the idiot president,” as Qudus recalls. “An unfolding series of events left me hopeless about the state of the country I live in: women’s rights were in jeopardy, Muslim citizens were barred from entering the US, and Black and brown bodies experienced continual violence at the hands of law enforcement, white supremacy emboldened and legitimized.” Overwhelmed and broken, she wondered, as the chorus goes, “When is this shit gonna end?” Paired with b-side “Who I Was” and stunning visual collaborations from Stephanie Kuse (who, in an homage to Qudus’ love for op art, created the colorful single cover and also the glitchy projections of the music video), it was a strong re-introduction to Qudus as a leveled-up writer and producer.

Spacemoth’s newest releases, “Asking For You” & “For The Last Time,” showcase her love of Devo’s “short-circuited punk rock,” Kraftwerk’s programmed rhythms, and early Brian Eno’s “delicate songs put in a weird frame.” In a Kimber-Lee Alston-directed video for the former, an homage to Daft Punk’s “Da Funk” allegorically works through an intense reality: the fears that women disproportionately carry in a world of omnipresent harassment. The song was written after a teen neighbor of Qudus was assaulted on her block in broad daylight. “You always have to watch your back,” Qudus explains. “When I sing ‘Asking for You,’ I’m asking for people to stop hurting women.”

As an artist who has spent the last decade refining exactly what she loves in music, it’s no shock that the bulk of the performance on Spacemoth songs comes from Qudus herself, who favors vintage synths like the Yamaha CS50 and Korg Polysix alongside tape manipulations, creating unpredictable, stretched out, and springy sound beds. As she continues work on Spacemoth’s first album, she’s excited to take her years behind the boards and reels on other inventive musicians’ projects and apply that experience to her own imaginative songs: “I finally have the skills and knowledge to make the sounds in my head come to life,” she says. “Spending the last few years discovering what kind of music I want to make has been worth it; I feel like I am finally making music that embodies who I am.” From these first few releases, it’s clear Spacemoth is a project with limitless sonic potential, and it’s anyone’s guess what gorgeous, clever songs she’ll turn up next.

 

Wairimu (Grace) Mugo

Circus

Somewhere in the wild jungle 

On his annual excursion down to the West Indies

The ringmaster found me

He wrapped me in his four 

no 

sixteen inch chain

And told me that he had never had the likes of me in his circus

A wild 

African 

Hippopotamus 

I was amused 

Wanted to go back to living my life In my waterhole 

Devoid of stale peanuts

And popcorn kernels 

But he lured me in there 

Made eye contact to assert his dominance 

Said he learned it from Animal planet 

And when I got to the circus 

I found that there were many animals like me

Wild horses from Equator, Bears from the Pacific 

Doves from Polynesia 

All lured with the same eyes

And the promise of fame in an animal kingdom 

And sometime around my 5th month of being there

He had gotten a habit of owning me

Marked prices of my skin as territory 

And told me I was the favorite of his animals 

And when he showed me off in my cage

And I’d hiss at the audience 

The ringmaster would calmly say

“Oh don’t mind her.  It’s that time of the month”

 

But last I checked hippos never got their god damn periods. 

And hippos didn’t like the sound of a chains whipping against steel cages

 or the way the ring leader used circus show tunes to hypnotize our eyes

But maybe I liked being exotic

Maybe I liked being a thing to be played with 

A thing to be  manipulated.

 And maybe I like feeling looked at for once.

And loved 

Even if it meant becoming an animal

Un-American American Girl Doll

When I was 7

I wanted one of those American Girl Dolls

You know,

The ones labeled with names like Kit and Emily

Names I wished were my own

Kit and Emliy didn’t have to worry when their teacher churned out the long African names during attendance

A sound equivalent to metal on a conveyor belt

Kit and Emily were never asked why their hair kinks crooked instead of straight.

And how factory superintendent managed to get their polyester hair so curly 

and so rigid

Instead 

Kit and Emily only worried about how the sun would hit their painted gold freckles at recess.

Instead

Kit and Emily worried about which accessory out for the American Girl Christmas collection--now 50% with each additional purchase

How I longed to be a doll

How I longed to become silicone

How I longed to have straight red hair down my back and green eyes made of glass

So I thought that if I wore American Girl Doll jeans

Wore American Girl Doll polyester jackets and legwarmers

That I would become 100% made of silicon

And if I was silicon you would see my price tag and barcode

Proving that I was

In fact

100% authentic American Girl Doll 

Born and raised in a factory in Edison, New Jersey

Maybe if my parents had gotten me that American Girl Doll I wouldn’t have a heart made out of cloth and polyester

Maybe Instead I would be placed on a drawer

And have pasty peach skin

Reminding some little girl that they too can become plastic

That they too can dress and put blonde hydrogen peroxide in their hair 

and be made in a factory

But somehow

Remain the the most 

Un-American American Girl Doll

to ever exist

H u m a n   N a t u r e

Somewhere 

On the grand ceiling of the Sistine Chapel 

God touches fingers with a Black man

Don’t believe me? 

Well I saw it myself 

Between the cracked concrete of pale blue paint and ceiling wax.

You see 

what happened is that daddy 

Pauli and me were going to aunt Lil’s birthday bash 

There’s a game we like to play where we race each other to her house

Daddy always said that the first gift god ever bestowed on the Negro was the ability to run 

I is small and i is nimble 

Our black purple backs rub as we raced each other under a pale blue sky 

But then we get thirsty 

Daddy says it’s a long way to Lils and looks around longingly 

Sees one of those lukward trees that mom uses to make marmalade

He says “ain’t no harm. Ain’t no foul”

And puts his black hand on that yellow fruit

And then a whole chorus of little baby angles emerged from the sky

Then a finger 

God himself reached out his hand 

Completing the final 4th panel in Michelangelo’s iconographic 

But then he was shot 

Hit him first in his hand and second in the bottom of his head 

And all the paint on the Sistine chapel melted away

The man who shot him came out and yelled at us

Told us we were on neighborhood property and says we were trespassing 

But them trees looked like public trees to me 

On the streets as plain as daylight 

I tell that man that Daddy didn’t steal from nobody 

But he said that “stealing is what a nigger do best”

I glance down at Michelangelo’s greatest creation

His blue black body lays helpless in the grass 

I cry ceiling wax tears

And pray that one of those little baby angles  could carry us all up to heaven with 

frescos where man touches still black fingers with God

If I were there

I would ask God Why 

We was born dirty 

Why we were born to be the scorned children of Ham

When we praise his name in the highest every muggy Sunday evening 

And Why a God so fair and so beautiful would make an ugly thing like me 

Like us 

And not take daddy up and away to heaven or at least tell him to run

Because that’s all a Negro is ever good for 



I Eve

So I guess, in a sense, you deserve to be stolen from

After all,  you never asked to be tricked by a serpentine

Or to be built by the eyes of man

But still 

you did it

After all 

what is a rib?

if it only turns into weak flesh of sin in your left breast 

And you

Who once lied in the Garden of Eden

Who once believed that you had the ability of deities 

Was knocked out of Heaven 

only to be reborn a woman

This time 

it was my left rib that was stolen

A new genesis marked with the touching of breasts and genitals 

sometimes 

when I lie awake in the garden of Eden

I wonder what Eve would have done if she’d known 

If the serpent had told her that she too would be cursed to walk the Earth with no legs

Dragged by the arms of man

Clad in snake skin and sins 

If she knew that I would become like her too 

Alone 

Stolen from

Like the way Adam first  took the apple from her palm  and ate it

But I guess she deserved it

Because sin first entered the world through woman 



Paintbrush

Who told you that Black is the color of scars?

A universal symbol of all that is dark and evil

Is that what they told you when they took our land and sold our bodies?

You see

If you cut open the Earth 

The Black obsidian would condense on the skin of your right hand

Showing you that we are both raw and beautiful

Was the first man not made from the Black Earth itself?

When the Great White God first made Adam from the dirt

He saw his Blue Black body 

And marveled at it’s god-like image

The Black ink unto which the very stars are made of

This is why they told us we meant nothing 

Because they knew that gold runs through our blood

This is why the told you that Black is the death of color

When all of life itself begins in our veins

We were life before they knew what life was 

Was Adam not formed from the very Blackness of my skin?

We were beauty before they knew what beauty was 

Which is why they taught us exactly how to hate ourselves

When it’s their white bodies that come from our continent

So here I am standing where an ocean meets the horizon

So here I am standing where a planet meets a universe

Where my breasts meet my ribcage

Matter itself comes from my left finger

I create whole Earths and planets anew

from my Black nothingness

The parting of my thighs created the birth of Deities

I am the blueprint

Sacrilegious in all my right 

I am the blueprint 

I hold the paintbrush

So how can I believe I am not a god 

When life itself begins from my Black Body

Wairimu (Grace) Mugo (website) is a high school senior in Austin, TX, and a 2nd generation Kenyan-American immigrant. She has been creating art and writing poetry for as long as she can remember. Many of the themes she focuses on in her art and poetry have to do with race, gender and social issues, exploring how these elements play out in everyday interactions. For her art, social justice, and STEM are interconnected. In her free time, she enjoys obsessing over various topics such as cinema, vintage fashion, painting and anime. Grace is an incoming freshman at Brown University this fall, where she plans to major in computer science and Africana studies.

 

Krystle Lemonias

 
Yuh no see say Him hungry?A woman is seated on the left, looking down in her hands where she is holding a container with food and a fork. There is a baby to the right side behind her in a stroller glaring to the right with a pout on their face. The …

Yuh no see say Him hungry?

Eeh, hole still!A woman is standing on the left side of the composition holding up the legs of a child who is laying on a changing table. The woman wears a light blue sweater and burgundy pants. The baby wears an orange shirt and is laying on a whit…

Eeh, hole still!

Go play wit yuh toys till I done.This artwork features a woman in the middle of the composition, seated on a couch folding a basket of laundry that's to the left of her feet. To the right of the laundry basket is a small child with its back to the v…

Go play wit yuh toys till I done.

Krystle Lemonias (website) is a Jamaican born visual artist influenced by the intersecting concepts of class, race, gender, economic inequity, citizenship, and labor rights. Immigrant Black communities contribute richly to the United States' cultural diversity and the workforce despite the barriers faced. These works explore men and women’s domestic labor contributions that play an integral role in the function of our society and contemplate the domestic socialization passed on through generations to do these jobs.

She uses found materials, patios, and iconography to stitch together these themes with personal narratives. Her works have been exhibited at Blum and Poe in the Show Me the Signs campaign for #sayhername, the New York Academy of Art in the AXA Art Prize Exhibition in 2020 and at the International Print Center of New York in the New Prints: Umbra in 2019. She acquired a BFA in printmaking from New Jersey City University in 2018 and is currently a Masters in Fine Arts candidate at the University of South Florida.

Exhibition curated by Laura Yona Zittrain + designed by melissa teng