“First, she gave away all of her books. No, that wasn’t really the first thing. That took a lot. First, she gave away the things that didn’t belong to her in the first place–things the owners should take care of themselves, as they only wore her down, and the earth didn’t like it. Then, she went to a party, where she could think clearly. Assuming position, back not up against the wall this time, but leaned up against the DJ’s table, so she could climb into the music. That way she could only feel one thing at a time, a thing she agreed with each song–and the DJ–when it came. And it was good that way–sweaty and clear and fun and sad and loud and juicy and happy and full”



“I am not grappling with notions of identity and representation in my art. I am grappling with safety and futurity. . . . I reject the colonial gaze as the primary gaze. I am outside of it in the land of NOPE. — E. Jane, “NOPE (a manifesto)”

To name ourselves rather than be named we must first see ourselves. — Lorraine O’Grady, “Olympia’s Maid: Reclaiming Black Female Subjectivity”

. . . Du Boisian double consciousness that has characterized Black life for centuries has wriggled its way into the minds of all subjects and now every single networked human being exists under this condition of “looking at oneself through the eyes of others” or living, watching, being watched, watching yourself watch others. What could be a workable theory of auto-expression that takes into account the temporally, spatially, experientially flattened act of looking and being looked at? We are each the constant voyeuristic subject and object, both surveilled and surveyor. ”


Both written by and in collaboration with

Rashida Taylor
Using Format