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Emerging Artist Series featuring Tianna Bracey



Tianna Bracey is an emerging artist employing portraiture as a vessel for connection. Her most recent series of work reimagine space as connection to ancestry. Her portraits are transformed into whimsical dreamscapes to amplify the presence of generational storytelling through repurposing and reinventing elements from daily surroundings. Each work aims to consider the ways in which familial ties, nostalgia, and memory can be woven into the fabric of daily life as an invitation to find purpose, strength and solace through heritage.


Tianna received a Bachelors of Art in Art History from the University of Missouri (Columbia, MO). Her work has been exhibited at The Chicago Athletic Association (Chicago, IL), Happy Gallery (Chicago, IL), The Martin (Chicago, IL) and Zhou B Art Center (Chicago, IL). In 2021, she was awarded the Curious Creators Grant from curious elixirs (Brooklyn, NY) and the New Futures award from Saatchi Art’s The Other Art Fair (London, UK). The following year, she was a recipient of the SPARK grant from the Chicago Artists Coalition (Chicago, IL).


We’re thrilled to feature Tianna as our first exhibiting artist to be showcased in our micro-gallery, and hope you’ll join us!


DJ ShamPain Wishes will also join us for the opening reception.



ShamPain Wishes is an Artist/DJ/Designer native to St. Louis but based in Chicago.

Inspired by the Spike Lee Joint “25th Hour” where a toast is given stating “Champagne for my real friends and real pain for my sham friends!,” their eclectic sound touches on Dance music from across the African and Club Diasporas.In any given set you’ll touch House, Funk, Soul, Disco, R&B/Soul, Garage, Ballroom and so much more!



Friday, August 19




Works in EMERGENCE are diverse in their subject matter and media, but a few themes reappear throughout. Working in abstraction or in the traditionally peaceful genre of still life, artists like William Carter, Allen Stringfellow, and Jonathan Green express themes of interiority or sociability, history or modernity. Notably, Stringfellow and Ralph Arnold both experimented with media and materials and worked extensively in collage, which allowed them to combine abstract design, figurative imagery, and on occasion political ideas.

Viewers typically expect Black artists to focus on particular aspects of their social and political identities within their work. Where might those expectations come from? Still life, abstraction, and collage may express many different things about artists’ interior lives and their visual and social observation, whether connected to public manifestations of identity or not.

William Carter’s mid-century still life Untitled presents a group of vibrantly colored bottles that invite the viewer’s gaze, set against a similarly colorful background with floral elements like grapes and leaves. They give evidence of conviviality and might be interpreted as symbols of social gatherings, but they could also just be a collection of pleasing forms. We might put Carter’s still life in dialogue with that of Jonathan Green, who became close friends with Carter while living in Chicago. Green’s close-up view of an eloquently simple composition presents oranges, a pear, and a lemon in front of two vessels. Works like this piece call the viewer to examine the objects the artist chose to include, to consider how they interact with each other like bodies in space, and to reflect on their meaning within the traditional genre of still life painting.

Collage might suggest the piecing together of identity from different components that might not usually coexist, giving room for more expansive imaginations of meaning than a straightforward representational image might allow. It could also just be an inventive way of combining colors, shapes, and textures. Allen Stringfellow’s Untitled, a collage from 1962, brings familiar motifs from still life—fruit and flowers, desserts and glassware—together with imagery of artist’s models and performers. Layered with paint and tissue paper that frustrate the viewer’s attempt to get clarity on the subject matter, the bursts of form and colors hint at the splashy abstraction of Stringfellow’s untitled, textured painting made from house paint and particulate on cardboard. Here the artist tests commonly found materials to create new textures and plays with the creation of colors and finishes that diverge from “Western” academic painting methods.

In The Waiting, Arnold constructs a large collage from different paper components, lace, and paint. In the piece, elements of European and African art are placed in dialogue with one another, while some figures appear alone and isolated, others in large groups. Without giving easy answers, Arnold implies questions about social issues. Who is waiting, and for what? In his Love Sign II, which bears the words “Love is Universal,” Arnold asserts the equal validity of all types of romantic affection and love, utilizing collage to convey a more straightforward political message.