The group exhibition On the Way Home brings together works by artists Havîn Al-Sîndy, Priscilla Aleman, Catherine Camargo, Isis Davis-Marks, Charles Mason III, Sheherazade Thenard and Cornelius Tulloch. Drawing personal points of connection between diverse landscapes, Diasporas and cultural identities, the artists aim to create visibility that extends beyond immediacy through iconography, conceptual considerations and storytelling. As they share practices grounded in anthropology, archeology, architecture, philosophy, and history, their research finds common ground between ritual, spirituality and science. We find the personal by accessing emotional and cultural commonalities that link ideas of home in its endless interpretations. As we encounter plants, flowers, seeds, bodies of water, and the people who inhabit the places, landscapes and spaces – whether we can connect through figurative elements or hints to their presence – we become part of the passing on of knowledge and heritage, and hear an echo from ancestral realms, calling us to actively accept a responsibility to create visibility, be present, and define what it means to be home anew.

Priscilla Aleman, Beyond Portrait (Self Portrait), 2024, rain water, foam, soccer ball, basketball net, palm fibers, milk crates, Mexican milagros, fruit net, pigments, plaster, 70” x 15” x 15”

With the works in the exhibition “Wild Women Don’t Have the Blues,” New York-based textile artist Malaika Temba considers emotions, the embracing of emotions as power, the interplay between strengths and weaknesses, as well as the dynamics of interpersonal relationships. Temba’s textile art is a radical act of self-expression and resistance in tactile form. Borrowing conceptually from the musical genre of plunderphonics – the construction of tracks by sampling recognizable musical works – her works weave together emotional fragments, ontological references, thoughts, past moments, and glimpses at the future into abstract representations of a shared human experience through the lens of a new and open definition of femininity.

Malaika Temba, Fragment 18, 2023, Cotton, rayon and acrylic yarn handwoven on a Macomber floor loom, wood pulp from ficus esaxsperata, 12″ x 16″

Exploring ancestral realms and engaging in the process of rewriting histories/herstories, “Sound, Stories” moves across the oceans that connect the African Diaspora. The exhibition poses the questions: What is contained in the language of the people, What are the narratives, sounds and identities inhabiting the landscape? This series of videos engages in layers of epistemological considerations and renegotiate perspectives of relation between cultural identities and space—moving from the Jamaican countryside to the waters of North Carolina and the contemporary gallery space—where we meet to contemplate the power of narrative and heritage and addressing power structures and celebrating community.

Ambrose Rhapsody Murray, Still from Deep Waters, made in collaboration with Logan Lynette, Heather Lee, and SpiritHouse Inc.; Helina Metaferia, Still from A Seat;  Ania Freer, Still from Riva Maid.

With the works in the exhibition “Rhythmic Landscapes, Patterns of Identity,” Miami-based interdisciplinary artist Cornelius Tulloch presents transatlantic Black narratives exploring connections between landscape and cultural identity through collage, photography and sound installation. Specifically focusing on South Florida and Jamaica as Caribbean and African Diasporic spaces, Tulloch captures and contextualizes anthropological interpretations of space, as well as flora, human interactions with the environment and the sounds and movements associated with connectivity to landscape.

Courtesy of the artist.

For Soho Beach House, Priscilla Aleman creates a contemporary water shrine, to translate the divine into a new material. The project titled “The Ocean Within” is a new instantiation of how the body is enshrined and elevated.

South Florida has been a city of immigrants from across the globe. Miami specifically, has also been a place of cross-cultural communities from the Americas, Caribbean, Africa, and Asia over the centuries. The way the city has developed is highly influenced by who is living there and what resources are available. Aleman intentionally focuses on materials used during turbulent times to build emergency shelters, feed the community, sustain life and bring hope. Coconuts, citronella candles, blue plastic tarps, rope, clay, water, palm leaves, miniature pueblos and cowrie shells surround and shelter a water deity. Drawing from Afro-Cuban sculptures and ancient symbolism Aleman creates a contemporary water goddess to offer a reflecting point for members to visit and engage with.

In the pool visitors encounter a temporary shrine composed of tropical plants, seeds and ceramic relics. Each member is given a coconut as an offering to the water shrine, where they symbolically plant a thought, a wish, a grievance, or an intention and then place it within the shrine to release to the water deity.

Courtesy of the artist.