Graduate Alumni > Advanced Fiber Studio (Highlights)

Tiana Marie Mincey (Fall 2015 and Spring 2016)
Tiana Marie Mincey (Fall 2015 and Spring 2016)
Various quilts

I am inspired by the words of revolutionaries, by the images, music and culture of AfroFuturists, by an analysis of the culture along the Black Atlantic and the connection between Africa and its Diasporical traditions. My artistic practice is grounded in these themes, and in a translation of the physical body, of a connection between bodies of marginalized peoples all over the globe. My work expands across demarcations of identity. An analysis of national, racial, sexual, and class identifiers, through art I investigate how we get stuck in these categories or how we voluntarily put ourselves there. My practice is located at the intersection between conversations of identity and questions on how some groups end up colonized, marginalized, and othered. Certain neighborhoods and demographics of people have better schools, grocery stores, safer streets and a higher chance of staying out of jail just for being born in an area or country. What does it mean that such grandiose inequalities exist in our world today? How can we break down the “ imperialist, white-supremacist, patriarchal, capitalist society” we live in as bell hooks has termed it. How can we begin to take group responsibility for our contributions to this reality we live in?
As I learn more about re-inventing, re-defining, re-researching the history and current state of people of color all over I am inspired by cultural retentions through the middle passage, by the continual fight for survival in oppressed communities. My work explores aspects of these retentions. Slightly ambiguous images of black bodies in framed quilted works often express emotional and psychological relationship to environment. Sculptural investigations utilize culturally specific types of fabrics such as saris, Kente Kloth, Batik and iron-dyed textiles to represent different demographics of peoples. A process-based acquisition of materials, such as naturally dyeing fabrics with blood, coffee, tea or foods – a collection-based search for clothing and denims allowing for site-specific investigation – are strategies used to imply further meaning and connection in my work. Pieced fabrics explore the interconnection between different ideas, experiences and cultures. Use of traditional, historical methods of craft making such as quilting, mat making, brick building and crocheting allow me to begin a conversation about the past and the present, about home and identity