Idendity Catalog 2024

CURATOR’SSTATEMENT

In this exhibition, you’ll see many types of identities, age, race, gender, sexuality, immigrant, veteran and disability status, all expressed together in the same show. It is meant to be an exploration of self and how we interact with the world because of the identities we may be born with, choose or grow into, or have placed upon us by society. It’s also a reminder of the many stories happening to and all around us that contribute to the shared human experience.

Identity came about as a result of both the timely release of artist Brittany Noriega’s Identity themed edition of Core, a quarterly local arts magazine, and from our wanting to move to the next stage of leveling the playing field in our local arts ecosystem. It’s a combination of our annual Queer Experience and Tangled Roots Multicultural Exhibition, as well as a manifest continuation of our ethos here at the ArtHouse: accessibility and equity in the arts for everyone It’s also to make room on our calendar to build exhibitions for the many artists who don’t wish to operate under any labels other than “Artist” and “Human.”

Making the decision to change our exhibition schedule and curate this new-but-not-new show was not an easy task. I wrestled with the possibility that those for whom these exhibitions were created, (artists of color, LGBTQ+, veteran, and disabled artists) would feel that something was being taken away, or that they were being lumped together and pushed aside as is often the case. However, because of our years of commitment to making consistent room for members of marginalized communities in the arts, I feel this new space is just an expanded continuation of what we’ve always done.

As a Black, gay man, I recognize the importance of having minority-specific spaces, where people can be themselves and see themselves represented without having to worry about judgment or self-censoring for the comfort of the majority. At the same time, I’m also aware of how othering it can be to feel you can only operate within these designated spaces and not find acknowledgement outside of them. To that end, we feel it’s time to, while still providing a place to belong, expand and demonstrate what it looks like to engage with and show the work and perspectives of multiple identities together in the same space. Minority and majority sharing the same spotlight, not siloed, but in conversation. As long as artists are willing to deal directly with their identities and their effects upon how they move through the world, they have the opportunity to show on these walls. The hope is that, through these artists, people across demographics will gain more understanding of each other and see that all of these stories coexist and are valid anywhere in the arts, both inside and outside of specific spaces.

Wolfe Brack Artistic Director

EXHIBITIONPARTNERS

The 5th Annual Queer Narratives Festival is the premiere visual and performing arts destination for LGBTQ+ artists in Kansas City! The festival includes 8 weeks of LGBTQ+ arts programming including the Visual Art exhibit in partnership with InterUrban ArtHouse. It culminates in the Main Festival August 2-3 at 2016 Main in the Crossroads! Visit the website for more informationwww.nodividekc.org/queernarrativesf estival

Core is an independent art publication dedicated to showcasing the talents of artists and writers from across the KC metro area. Our mission is to provide a publication platform where artists can show their work and express themselves freely. Core is an ad-free publication and is free to the public, creating an inclusive space where creativity can thrive without commercial constraints or financial barriers. Through Core, we aim to celebrate the diverse artistic voices within our community and foster a vibrant cultural landscape that enriches both artists and audiences alike.

www.corezinekc.com www.patreon.com/corezinekc

ABIGAIL BALDWIN

@abigailbaldwin.botanicalartist

The flowers in this piece were gathered from a loved one’s memorial service. Pressed flowers undergo a transformation that allows them to never truly die, but rather evolve into a new form, still retaining their beauty and significance. This metamorphosis parallels the human experience of loss, where a person's essence persists beyond their physical presence, becoming intertwined with our own identities. This connection is present when sharing memories, in the desire to say their names, in the comfort of wearing their clothing, and in the intentional moments spent honoring them and our enduring relationships. My identity is deeply connected to my loved ones, and my worldview and self-perception have been impacted by losing them. Who am I in the absence of this person? Who am I beyond my role as a griever? This piece represents grief, loss, transformation, and identity, serving as a celebratory testament to departed loved ones.

ADAM FINKELSTON

adamfinkelston.com

@adamfinkelstonart

Constructions Of An Inner State

Adam Finkelston’s black and white linocut self-portraits explore identity as a multifaceted and often fabricated thing. Finkelston’s images refer to love, grief, the creative process, political and social concepts, his relationships with others, and myriad other topics. In this multifaceted approach, the pictures reflect some authenticity. But the images also refer to a character, a construction of the self, an identity that is constantly being built and redefined. Finkelston’s images acknowledge that the line between authenticity and artificiality is thin and that identities are complex and constantly in flux.

Three Doors

Linocut print

24" x 36"

$1,500

Self Portrait In My Studio Linocut print

18" x 12" $300

Fireworks (For Gigi) Linocut print

18" x 12" $300 featured in

ALEX RAINE

@shadowflameaspects

I'm a brown queer in my mid-forties. When I was a child, I thought I was the only one like me in the world. Even when I saw men who loved other men on television, they were white, dying of HIV, or both. I never saw what it was like to live as a brown queer. I knew a story or two of a few people, but none quite like me. None with dreams, with happy endings. So I had to write my own. I write to survive. It is the way I breathe in the world. Art is how we exhale, sorting out and making sense of that which does not always make sense. The closest things that make sense to me--the closest things to me, I often feel--are angels. Angels are all genders, all races, all time, space and dimension. When I was a child, I liked to pretend I was the guardian angel of boys I loved. I would watch over and look after them in secret. My tendency towards playing an angel resurfaced during the pandemic. I work at a hospital, and in order to put one foot in front of the other, to take care of my colleagues and patients, I remembered my wings. They helped me to rise above the despair and to carry hope for those who could not do so for themselves.

ALEXEJ SAVREUX

Identity is a fascinating, multiplex theater with many dimensions to unpack. However, my work submitted here reflects my position or perceived lack of pull within the world. I often find myself at odds with the artistic and the academic worlds. Specifically, I am too artsy and interpretive for the academe and too scholarly for the artistic; thus, I often lack a clearly defined occupational or vocational identity. My work blurs the creative with the academic; therefore, I generally don't feel at home within either subset or their adjacent institutions. My work submitted here represents my lively, and busy mind, overflowing with creative, madcap energy and the kind of work that informs my artistic practice -- graffiti, writing, photography, photo manipulation, and graphics This work represents my artistic aesthetic and how my brain operates - merging the mathematical with the linguistic and the theoretical, punctuated with the intellectually lawless. I am still learning to finesse my artistic practice as being more of an outsider artist as well as my identity within the academe, which is likely forever being in some form or another, an alt-academic. Both of these facets of my personage can often lead to feelings of being on the periphery of multiple vocations without necessarily belonging to any one of them. However, I never create, write, or lecture for external validation. Internal, innate, and inherent joy, and passion for this eclecticism and for my life's work informs my endless pursuit of all things creative and intellectual I try day by day to lean into my eclecticism, not run from it, or reject it And honestly and frankly, if I had it any other way, I would be unhappy. I'd probably get bored if my life's work and related personal and professional identities were less eclectic or complicated.

ANGELICA AHUMADA DEJESUS

Angelica is a first generation Mexican American, who is a self-taught multi-medium artist in Kansas City. Her preferred mediums are acrylic paint and cardstock paper. Over the past few years Angelica has worked to create her own contemporary geometric style.

Growing up as a fair skinned, mixed, Mexican American kid who was not fluent in Spanish her identity was constantly questioned by others. "You're not Mexican enough" was a common comment towards Angelica. Today she is no longer allowing herself to feel less than or allowing herself to think that her experience is not valid. Angelica is enough. She is Latinx enough. She is Mexican American, and she is taking up her space and sharing her experience.

No Sabo represents how she felt when with her Hispanic/LatinX side of her family but was the only one who doesn’t speak Spanish. It’s an insecurity she is slowing shedding. In this particular piece she depicted herself in a different color to represent being singled out. Then placed herself in a box as she found herself being put into all her life. A box that made her feel isolated and yet on show for everyone to judge.

Recently, she created a bigger art series (Taking Up Space) to show how she has felt about her place in the Hispanic/LatinX community and about her cultural identity as a whole. Being part of multiple cultures and heritages have brought on different identity crises through out her life as she figured out where she belonged. As Angelica figured out where she felt accepted as a whole. All the pieces in her Taking Up Space series represent parts of her experience as she found her own identity.

ANGELO WRIGHT

As an artist, I am a confluence of authenticity, abstraction, and texture, weaving each piece with a narrative that transcends conventional art forms. My work is a testament to a journey marked by resilience and transformation. Each stroke of my brush, each layer of texture, is infused with a profound depth of emotion and a commitment to authenticity. Specializing in authenticated artwork, I bring a unique blend of realism and abstraction to life, creating pieces that not only captivate the eye but also speak to the soul. My art is not merely to be viewed but to be experienced. I engage my audience in a dialogue between color, form, and texture, inviting them to explore the layers of meaning embedded within each creation. Through my work, I seek to inspire, challenge, and ultimately transform the way we perceive art, making each piece a testament to the beauty of human experience and expression. "Dear Future Me" is an interactive piece where I have handwritten letters that are inspirational, encouraging, and uplifting. It serves as a reminder to never forget where you come from and your purpose. The concept is for people to read the letters held in each hand and change them out as they wish or need. My goal was to make the piece encouraging, uplifting, and hands-on.”

dscoverurdzine.com Angelo_wright_jr

ASHLYNN BONDS

@ASHLYNN.GABRIELLE

As a Black Woman I’m no stranger to being policed about what I choose to do, OR NOT DO with my hair. Swooped edges, silk presses, or rocking my natural, but its bonnets IN PARTICULAR that seem to bring out some people’s inner “Uncle Ruckus.” Have you ever sat and thought about why? Bonnets are “ ghetto and uncouth” but hats are just fine? What EXACTLY is the difference? The demographic perhaps? And that’s exactly where respectability politics enter the chat. “Respectability Politics” is a term coined by Author and Historian Evelyn Brooks Higginbotham in 1993. It’s used to describe a strategy where members of a marginalized community will consciously abandon or punish controversial aspects of their cultural identity as a method of assimilating, achieving social mobility and gaining respect from the majority. Truth is no matter how much you distance yourself from “stereotypically Black” things, you STILL fit the description. It has nothing to do with speaking African American Vernacular English or wearing bonnets in public and everything to do with the skin you’re in. So next time you see a Black woman in public with her bonnet on and feel the urge to give your unsolicited opinion, how about just DONT!

I Don’t Politic Textiles 22x 18 $555

“Nappy Roots” "Nappy" hair is specifically used when speaking about the hair of Black people, from her newest collection "The Hair That They Wear", artist Avrion created "Nappy Roots" to give a new visualization to the term, usage of mixed media with epoxy, wood, textures, and burning of wood to add intricate detailing and actual wood pieces as black people are rooted in their identity.

NappyRoots MixedMedia; includingwoodbase andepoxycoating 48in(H)x34in(W)

AVRION JACKSON

Bella Hernandez Lusk

k d

i i idl s the trials and economics, society, ges that almost felt like

Peeking Out the Blue Oil Paint, ceramic glaze on ceramic

5 X15 X 12”

250

This work seeks to highlight the unmatched presence of Black men, a presence that often goes unnoticed in society. This piece is a representation that is reflecting on the mental and emotional burden carried by Black men revealing a complex and often silent struggle.

Men frequently bear immense responsibilities and face numerous societal pressures, yet they lack safe, supportive environments to express their emotions and vulnerabilities. The weight of these unspoken hardships is substantial. Enduring racial discrimination and economic challenges to navigating expectations of masculinity and resilience.

I have witnessed firsthand their silent struggles of family members & friends . Men are often told at a young age "don't cry" and to "be a man," prompting them to internalize their pain and continue forward without expressing emotions.

This piece focuses on an individual grappling with the profound and harrowing choice between life and death, driven by the belief that their presence on this earth is unworthy & the pressures of this world is too much . Wanting to find joy in the midst of it all .

DANIEL BAXLEY

@danielbaxleyarts

I call these pieces Soul Portraits. The portraits show a deeper side of our identity. The soul connection that each of us grow throughout our lives. Each portrait has its own characteristic and reflection of the spiritual side of our humanity and identity. Take in each piece and see how it speaks to you. It may mirror some deeper aspect of yourself, or others you may know who are close to you. The medium of the work is fused glass mounted on burnished stainless steel panels.

The Shadow Self

On the Brightside

DANIEL GARCIA-ROMAN

Since the start of 2024 I have been in the gracious journey of inner work. Rather being intentional and aware to my thoughts and feelings like never before. Well, yes like before, from when I was younger and more connected to source. The piece is titled DINO DAN, a nickname ascribed to me by Ms. Hayden in 5th grade. I am making young me proud. This piece is made from self-love to my young identity, my inner child. The naivete spirit that invited messy magic, and virtues pure are realigned with current self. Power to the Paolicousness of life. This piece is me taking the power of a younger self and merging it to the now to bring forth higher self.

Dino Dan Mixed Media 24 x 18 in. NFS

20/Ugh Vision

Oils & Augmented

Reality

24 x 36

$600

I'm known to be a goofy, happy-golucky Asian American woman who radiates positive energy. Many people find me friendly and endearing wherever I go. Regardless though, looks can be deceiving. When it comes to my art, I'm attracted to stories that are emotional and heartfelt. These stories aren’t something to be taken lightly either. Sometimes making things that are rather introspective in nature, I can be a heavy hitter with those emotions. It is to the point that you wouldn’t even know that someone with an infectious, bubbly laugh like me can bring forth the dark and depressing very well. Combined with my versatile nature, I can connect to anyone with my stories in many different forms. That is why I like to make the imagery that I do. I'm drawn to human connection and either being a comforting presence to the brokenhearted or someone who is completely relatable in anyway. Human connection feels more real when you draw from your identity and experiences. The reason why? Well, people know you're being true and honest when you bring your own story in some way, shape, or form.

DERRICK SCHMIDT

@derrick.l.schmidt

Drawing on a practice of poetic self-reflection and my own selfdiscovery, there’s an incompleteness about the work providing a sense that we, as humans, are always growing or evolving. This gives people a new way to look at the world. I feel my works represent a mixture of feelings that are symbolized through expressive marks and movement that evoke emotions in others.

$1,500 featured in

$2,000

Versions of Self

Acrylic, Pastel, and Oil on canvas

30"x24"

Changing Times

Oil, Spray Paint, and Crayon on canvas 40"x30"

DOMINIQUE BRIGGS

@mayhem musings

My drawings take my anxieties and turn them into queer joy through the ritual of repetition. My identity is pattern seeking and self soothing and my art reflects that.

Bittersweet Breath Paper, Micron Pen 9x12" $150

Eclipse Shadows Paper, Micron Pen 9x12" $150

FELIZ KEHINDE

Say "Ahhh" is a reflection of my multifaceted identity. They showcase my role as a parent, highlighting the nurturing side of who I am, while displaying my nonbinary identity through things like the visibility of my top surgery scar. Say Ahhh

GREG AZORSKY

Creating art has been a journey of self-discovery for me, one that began unexpectedly about 8 years ago when I was invited to participate as an artist in the Midwest Jewish Artists Lab through the Jewish Community Center. At that time, I had only created a handful of pieces to share, and nothing I felt particularly confident about. However, when I shared some of my "doodles" - sketches I made in my spare moments, on airplanes, or during breaks, on my iPadI received an unexpectedly encouraging reaction. Encouraged by this feedback, I embarked on what I called the "Doodle of the Day Project". The concept was simple: create a new piece of art every day for a year. It was a transformative experience, one that not only helped me refine my artistic style but also define my palette. Each piece was numbered as "Day..." marking my progress and dedication to the project. Although I no longer create daily, the project has left an indelible mark on my artistic journey, with the latest count reaching Day 718.

One of the pieces I'm showcasing in this exhibition is Day 688, a self-portrait rendered in the geometric abstract style that has become my signature. However, the exhibit isn't just about my latest work; it's about the journey I've taken as an artist. Each piece I'm submitting, marked by its day number, represents a different phase of my artistic exploration over the past eight years. Together, they illustrate my growth, experimentation, and the evolution of my artistic identity. www.kc-cool.com

ISABEL FLORES

These pieces are oil paintings on canvas based on a point of no return: a crisis. Perceiving myself as voiceless and unknown and becoming aware of the need to make changes in my life. Asking myself who I really am and where I am going? I decided to commit myself in the most honest way and to continue my journey in a more conscious way, we are the heroes of our own stories. I have found inspiration in my past, I tell, reflect and am also a spectator of my own story, that of this girl from the global south who becomes a "mestizo" woman, Chiapanecan, Mexican, migrant, an emerging artist. Through our lives we continue writing our subjectivity, the identity that we are.

Who am I?

Oil painting

16x12 in $300

Shiphwreck

Mixed media

36x24 in $800

JASON PIGGIE

littlepiggieentertainment.com

@j.piggiekcphotographer

The Vision Box series comprises experimental video clips that loop within a box. These videos serve as a direct reflection of my daily life, representing my current identity. However, they also delve deeper, offering insights into the trajectory of my entire existence. Displayed in cigar boxes, they emphasize a recurring theme: despite choosing to pursue my passion as a career, I inevitably confine myself within selfimposed boundaries. This confinement manifests in my sleep patterns, dietary choices, and my relentless pursuit of capturing seemingly insignificant moments. This is my current Identity.

Video,

6 inches wide, 8 inches tall, 3 inches deep

$500

Video,

6 inches wide, 8 inches tall, 3 inches deep

$500

6 inches wide, 8 inches tall, 3 inches deep

$500

Vision Box 3: Chasing the Image

Video, Box, Raspberry Pi

Vision Box 2: Buddha Bowl Meal

Box, Raspberry Pi

Vision Box 1 : Half Sleep

Box, Raspberry Pi

JAYSON VIGORS

@JAYS0NS

As a queer KC-based artist, I explore the modern trans male body though the traditional lost-wax bronze casting process. Animal forms combined with human anatomy dominate my work, and I draw from ancient mythological stories to tell modern interpretations that reach out to the underrepresented transgender population. Creatures labeled as monsters are seen through an admiring, often erotic lens in my art, and I find the humanity in the inhuman. Creating my pieces involves a meticulous modeling process, combining hours of digital Blender sculpting with the human touch I bring to working the finished wax casts. I whisper loving affirmations to my molds before each pour, and am continually improving my skill in the metal casting process. Outside of figurative metalwork, my practice also involves the use of fiber mediums, such as crochet and quilting, all brought together under a conceptual thesis about the beauty of transgender identity.

T4TM (Theseus4TheMinotaur) lost-wax cast bronze, wood, gold leaf 10.5”x12.5” 2300

JHULAN MUKHARJI

jhulanmukharjiart.com

@jhulanmukharjiart

As I enter the final quarter of my life, the sum total of lived experiences, friends and family, informs my own identity. I am drawn to objects that evoke memories of time, departures and comforts. The paintings are an attempt at synthesizing this aesthetic.

Hat Scarf Pamuk

JIANQIAO LUAN

@JQWatercolor

•Framed 9x12 prints, collection of 12, $500 for whole collection.

•Unframed 8x10 prints, $25 each.

•Unframed 5x7 prints, $12 each.

•Coloring books, $35 each

This is a series consisting of the 12 Chinese Zodiac Signs. Chinese people have different Chinese Zodiac Signs depending on their birth year, 12 years makes one cycle and after a cycle is complete it starts over with the 1st Zodiac Sign (⿏ Rat/Mouse). For example, I was born in 1991 and my Chinese Zodiac Sign is ⽺ Goat, and people born in 2003 have the same Chinese Zodiac Sign, Goat. People born in 1980, 1992, 2004, etc. have 猴 Monkey as their Chinese Zodiac Sign. The Zodiac Sign system is an important element in both Chinese and other Eastern Asian cultures. There are small differences in the zodiac elements among Eastern Asian countries, for example, Vietnamese Zodiac Sign has Cat in place of Rabbit, but we have the same root. I am choosing to present this series because The Chinese Zodiac is an important aspect of my culture and my culture is part of my Identity. I also hope this series can serve as a bridge for others to connect with their own identities. Through the rich symbolism and cultural depth of each zodiac sign, I wish for everyone to explore and embrace the unique aspects of their heritage and personality.

Each Chinese Zodiac Sign has an introduction that states why I as an artist, decide to illustrate them in a certain way.

JOE BUSSELL

My art revolves around my experiences and reflects my ever evolving identity. In 1973 when I was an art student in high school at Shawnee Mission West I came out. No doubt art in general and the figurative work I was making specifically then, helped me do that. Years later In graduate school my work moved away from the figure and now addresses the world of abstraction. I have never ascribed to any movement or group but have found Queer Abstraction to best define the work I make now.

JONATHAN VIRGINIA GREEN

jonathanvirginiagreen.com @jonathanvirginiagreen featured in

I explore mechanisms of desire, intimacy, and transformation that are oriented within my experience as a queer and transgender male. These experiences are processed through material embodiment. My physical body is the raw material of my identity. My bodily trauma and erotic desires are synthesized to create sculptures that are alluring, but with a sense of danger.

NECRONOMICON (TOP SURGERY SELF PORTRAIT)

Clay and acrylic on wood panel 13x10"

$375

INPATIENT

Acrylic on canvas, vinyl, zippers, grommets, bondage lock, modeling clay with bite mark

24x12'

$300

JUSTIN CANJA

@papermonkeyartstudio

"Mii, Myself and the Eye of the Storm"

These works together serve as a tryptic depicting my ongoing struggle with internalized homophobia.

"Eye of the Storm" Projection

"Mii"

"My Self"

KAI JOHNSON

www.kaistoodios.com

@kaistoodios

Kai’s work is an active and boundless journey of self discovery, g , p ction. Kai is inspired by the flow and crudeness of nature, discovering this ignites their own rawness and desire to share their experiences in mental health, gender, and love. They use mechanical pencils to draw wobbly, energetic lines paired with solid digital color. This combination creates a parody of reality; a bold and dirty picture to capture that natural rawness and illustrate the many rhythms of humanness. Though there is text to communicate their stories, Kai also fills their illustrations with symbolism and fantastical characters as declarations to complete their statements. They invite questions, exploration, and chuckles.

Mechanical Pencil, Adobe Photoshop 18x24 in.

I Love You But I Love Me More Mechanical Pencil, Adobe Photoshop 18x24 in.

$200

$200 Drink More Water

Mechanical Pencil, Adobe Photoshop 18x24 in.

$200 featured in

KATHRYN HOGAN

In this series of works, compositions of disembodied appendages culturally viewed as asexual (legs, fingers, chin, etc.) share a space with manufactured objects void of personality or meaning. These body “still lifes,” rendered in a gendered visual language pioneered by pornography, destabilize the viewer & their perception of the subject matter. In this work I expose the source of our bias, a visual vernacular exploited in popular imagery in which the commercialization, commoditization & efficacy of one’s appearance defines one’s identity.

Hand With Pencil Oil Paint on Canvas 38x50

$5,500

Chin With Tampon Oil Paint on Canvas 14x18

$725

Calves With Shoelace #2

Oil Paint on Canvas 24x30

$2,160

featured in

KELLY MEINERS

Identity: Before having brain and multi organ damage and becoming disabled post COVID my identity was defined by what I did and had accomplished: I am a mom, I am a physical therapist, I am a marathon runner, I am strong, I am smart, I am a scientist, I am healthy, I am a professor, I’m a leader, I am generous with helping others.

Now, evaluating by the same standards being disabled, homebound and often bedridden: I am sick, I am confused, I am in pain, I am lazy, I am stupid, I am a burden, I am scared

Conflicting thoughts are frequent because I’m an eternal optimist. Therefore, I am lost.

I’ve been forced to give up my previous identity but am left in limbo as to who I am. With my brain injury I may never find the answer to this question, instead I seek to find satisfaction in just being. That is enough.

KEVIN CALLAHAN

I like to put my identity on canvas as different famous people, especially well known artists and other historical figures. I substitute my image but keep many for the details that make the "subject" identifiable. To date I have completed 22 paintings in this manner.

The Artist as Henry the VIII

Acrylic on canvas

14 x 20 x 2

$295

The Artist as Captain Kangaroo

Acrylic on canvas

20 x 16 x 1

$295

The Artist as Biggie Smalls

Acrylic on canvas

14 x 18 x 2

$295

KWANZA HUMPHREY

Deep Roots is a portrait of a family that represents my own from years past. This family is set against a mythical backdrop of greenery representing the passage of time, rebirth, and our deep connection to the earth. Like the foliage striving through perseverance against the forces of nature, I also strive and persevere through my roots and connection to my ancestral wisdom

Deep Roots

Oil on Canvas

152.4 x 121.9 cm

$14500

The painting River of Tears found me, all of my work finds me somehow. I rarely plan my paintings. I am a woman born in the fifties in a small conservative town. Things have changed so much in my lifetime. I am a completely different woman than I was. I am passionate about art and love talking about art. I think the reason I paint the way I do is a direct result of where I come from. I feel like I’ve always worn some sort of mask trying to be perfect. I don't know where my art is going but I do know that the way that I work right now makes me feel that I have some control over my painting. Haha I should say I have very little control which is the part that I need right now. I look forward to watching my style blossom into whatever it decides to become. Our identity is such a huge part of who we all are, it naturally shows up in our work.

LUCAS NGUYEN @lucas.fiberarts

A huge part of my identity is being Asian American so, I explored concepts of racism, ignorance, community, and comfort through the lens of Asian food How does my cultural food relate to my experiences as an Asian American? I find many Asian Americans try to connect with their culture through food because it's an easy gateway to finding understanding and bringing themselves closer to their culture. How do American societal views affect my experiences connecting to my culture? American society puts itself on a pedestal of being a place of diversity but only touches the surface of many Asian cultures. That lack of knowledge creates many troubling issues for Asian Americans and creates the need to find belonging.

Milk Carton “Missing Identity & Culture”- The artwork represents my identity as an Asian American eating lunch with classmates and feeling ashamed of my cultural foods. That experience is universal for many Asian Americans growing up feeling the need to put aside their culture and try to conform to American norms of society. The traditional American milk carton contrasts the idea of cultural Asian foods on the sides with the words “missing” on the top.

Missing Identity & Culture

Yarn, Poly-fil

15in X 14in X 24in

$600

Saute, Steam, Sear (front and back)

Yarn, Wool, Poly-fil, Cotton Thread, Dyes, Cotton Fabric, Felt

24in X 25in X 12in

$1,000

@lcceramicart

This work stems from the thought that there is someone for everyone or “a lid for every pot” As a chubby gay man, I struggled with my body type until I found that there were some men who like bigger guys.

LYD LOW

lydlow.com

@lydlow.studios

Much of my work struggles with themes of desire, how it has empowered me, while also being a form of constraint in my gender programming. Desire propels me while casting long shadows of doubt about my relationship with my body, and others. There is so much internalized shame while simultaneously trying to revel in liberation. They are pieces born out of confusion, and frustration, punctuated by momentary euphoria.

MELODY ERICKSON

I have always thought that there are two visions to each piece of art. The artists and the audience. So, although I will be discussing my vision of my paintings, I hope that you find your own vision. I want to express that my daughter is in support of what I have painted and what I am discussing here.

This painting is the second painting of my series of paintings titled "Reach for Knowledge". This painting I wanted to express how I feel stuck on a planet with those that don’t understand and are biased from their fears. If only I could say or do something that would educate them and there would be no more bias. However, the knowledge is just out of reach for me.

For others I felt the tree hand may represent humankind stuck in the earth, roots of our past keeping us from the truth that is just outside our grasp, in this painting the orb represents transgender identity and how humankind is not fully able to accept the true identities of persons who identify as transgender.

NADA BAYAZID

@nadapaints_

Bargain

Intaglio, Hard-Ground Etching and Aquatint

7''x9''

$120

Untethered Demise

Intaglio, Hard-Ground Etching

6''x8''

$80

Red Pool

Intaglio, Hard-Ground Etching and Aquatint

38''x38''

$4,000

My personal interpretations of topics such as identity, memory and place are what drive the majority of my work I draw connections between these broad ideas and my own unique experiences as a Syrian-American to come to terms with who I am, and to embrace the fluidity and instability of my identity. My source material comes from investigating and researching my peoples history as well as my own upbringing through childhood photographs and images of a land I haven’t embraced in over a decade.

My perception of homeland, specifically the Middle East, had been greatly affected by my American upbringing, causing me to view it as a backwards and destructive place. However, through the process of unlearning and reevaluating these superimposed stereotypes of the Middle East, I start to reclaim those ideas and manipulate them in a way that calls attention to Western intervention in the Middle East, and simultaneously presenting a more nuanced understanding of my identity Consequently, I’ve used my limited yet newfound understanding of Syria and the Middle East in general, married with my American upbringing and childhood photographs, to develop a vocabulary of symbolic objects in which I repetitively integrate into my spaces.

Additionally, I tend to paint my spaces in a way that mirrors my privilege as an American born Arab. My vibrant color palette might seem peculiar, but I purposefully stick to this vibrancy to reflect on my privileged life and the safer environment that I grew up in, contradictory to those whom I share my other half with. I see my practice as an opportunity to rediscover my origins and reevaluate what I know or what I thought I knew about myself and the place my family came from.

NICOLE EMANUEL

For 62 years, I thought about myself in specific ways, based on believing my loved ones. Last year, something finally broke open. These boxes were made in that time of breaking. Maybe I’ll understand them later.

Mixed

Who the fuck am I #1

Who the fuck am I #2

PHIL DUNN

@phildunnartkc

I am drawn to the ambiguous nature of abstraction. There is a freedom to painting organically and letting the subject matter present itself to me through mark making I feel strongly that my paintings aren’t complete until they are viewed by another person. The viewer’s perception is vital to the completion of my work as what you see may be very different from what I see or indeed intended. I consider myself a “blue collar” artist. I value destruction as much as construction. Many of my pieces are built using several layers of paint that I then remove portions of to expose the underneath. I often use nontraditional tools such as masonry trowels, sandpaper, and cooking utensils along with my brushes and palette knives. I’m physical when I work, I wrestle with my paintings and they with me. I prefer to work in a large format because it lends itself to expression. Often, I finish my work in resin. Resin provides a crystal-clear finish that adds magnification and clarity Resin makes the colors I use jump to life giving the appearance of wet paint I view art as a conversation. My work is a physical manifestation of seeking a connection. A connection to the natural world, the technological world, and to each other. I enjoy creating work that has a meditative quality and reveals itself with prolonged viewing.

This particular piece represents my frustration with the ever increasingly polemic nature of our political and social discourse. I believe truth is usually found in the many shades of grey.

@thumbs_hurt

QALEEL “WUL” SOLOMBRINO

Most of my identity lies in my books. When I was younger it was easy to bury myself in a sketchbook then do anything else. It was the only thing I ever studied. I began to make them out of necessity. I was broke and in a situation with no freedom so I had to make my own.

When I was younger we couldn’t go out. We had to be in the home until I turned 18 I was homeschooled since 4th grade I was just home I could do whatever I wanted It became a cesspool of addiction. Porn and game addictions. We were homeless for a while and lived in hotels. I finally got some discipline. I began to draw every day. I had to make stuff. It didn’t matter if it was legal or illegal or moral or immoral. If I feel like I had something to put out I had to put it out. In the sketchbook I could release and hide. I had my own language. There were to many people in one space. Outside of the books I was stifled. I couldn’t ever be alone. Always children. Sleeping on couches and floors.

The first books I made were drilled cardboard. Then I began to think about covers and leather and fabric. How to make the books really my own.

Exploring materials while making my books led me to the fashion. I began to decorate myself like I decorate my books. My books are my home base. That is where all my thoughts lie With fashion my sketch books grew I became the sketch book I had to express myself in a way that is not hidden in books anymore.

The performance is a part of this as well. The fashion is where I show myself the performance is where I do myself. My family has a big push it through mentality. Ignore your emotions and keep pushing. My dance is where I can express in a healthy manner. A non-destructive communicative release.

I use to work on a trash truck. Skateboarding is a big part of my identity. Skateboarding is intrinsically artistic. People do a trick a million times until it looks perfect to them. The culture, the clothing around it, the “steez” is what they call it. My Steez is the skateboarding and the trash truck and my childhood of overcrowded housing insecurity and repression and crop tops and mosh pits and release. I have years I don’t remember. I think my art and keeping things on me is part of that Hanging on to myself

RADHIKA KARANDIKAR & DEEPTA SESHADRI

@RADHIKAKARANDIKAR27 @DEEPTASESHADRI.DANCE

As immigrant artists who were in search of new experiences and artistic journeys, Radhika and I connected over a shared love for dance, art and our shared experiences of finding our voice in a new country. This led to the development of the following work that reflects our personal journeys of finding a new home in a new space. ‘Roots and Routes’ explores the life of migrant women, trying to make it work in a new space, facing hurdles, juggling between multiple responsibilities, failing, getting up and yet keep going to make it work! “While life gives you in abundance all that it has to offer, the heart still reminisces the comfort of home which you left behind…” Between this constant struggle of finding home and belonging and of reflecting upon life choices, they still continue to navigate through this walk of life. Credits - Music - Sindhu Natarajan (vocals and composition) Maya Rau-Murthy (konnakkol and percussion design) Aditya Iswara (percussion: mridangam and kanjira) Krupa Sekhar (violin) Choreography by Radhika and Deepta.

RACHEAL BRUCE

www.rachealbruce.com

@rachealbruce

Speech implicates two or more parties: those who speak and those who listen. The illustrated sculpture "Permission" explores the authority one is given to speak and be heard through the homophones "Aloud / Allowed" - The words refer to having the right to speak, speech as preceding oneself, and identity as something performative - something that looks and sounds different in public and in private, especially when relating to queerness. The figure in the middle is covered in an illustrated shadow of these words, as language is not transparent and holds physical weight. As the figure is controlled by these external forces and discourse, it becomes internalized. Permission

ROBIN VANHOOZER

robinvanhoozerart.com

@robinvanhoozerart

My studio practice revolves around the use of many different materials, found objects, photographs, vintage lace, and collage, along with traditional oil painting. “In My Feverish Dreams I furiously Persist” reflects the theme of identity through the use of a silhouette, forming a shroud around the identity, revealing the thoughts underneath, while concealing the true identity. I identity as female, depicting feminine identity by creating a visual tapestry with repeating colors, patterns, and designs and is a powerful tool in my artmaking. The duality of concealing and revealing is important in this time of social media, and the questions of how much do we share and how do we use our voices? The figure depicted is silent, however through the use of shape, pattern and color, her voice and identity is shared. Woven throughout my work are glimpses of what I see and can imagine. The constant transformations that occur over the course of the creating inspire me to constantly observe. The evolutionary path I travel with each image is a unique perplexity. The revelations that are unveiled surprise and delight. In My Feverish Dreams I Furiously Persist

SAM THOMPSON

regionalbysam.com

@regionalbysam

My artwork is a continual exploration of my queer identity and mental health. Each abstracted face represents a facet of my being and my relationship to the world and others. As I'm embarking on my twentyeighth year on this planet, I've learned that life is whimsical and unpredictable, and my identity has been shaped by wild events in my life. My paintings strive to interpret these feelings in a visual manner.

SHARON RODRIGUEZ

@rodphoto1022

I survived!! I am still here! I have a voice and a camera!. There are many stories to be told. I am telling mine through my own lens! The Fine Art Photographs in the Identity Art Show continue the story of my survival of Aging, Doctors, & Family.

SHAWNNEICE MITCHELL

goddess-artistrycollections.square.site/ Goddess Artistry KC

"I Am My Hair" pays tribute to the resilience and beauty of African American women, each curl a testament to our ancestral roots.

I Am My Hair

Acrylic on canvas

20 X 20

$100

TARA BOOTH

www.tarabooth.com @taraboothstudio

In line with the theme of the Queer Narratives Festival, my artwork offers a nuanced exploration of the queer body as a site of identity, desire, and resistance. It challenges viewers to reconsider their understanding of embodiment and to embrace the multiplicity of queer experiences.

Lingua ceramic, fake tongue 12x8x4" $350

Lick Me ceramic, fake tongues 12x10x8 $800

TAYLAR SANDERS

“This Little Light of Mine” is about motherhood, the roles we are born into and the roles we may grow into. A mother is embracing her daughter. She is lovingly staring at her; as she stares ahead. The young girl’s gaze made me think of where her future may take her. The way her mother is embracing her made me believe that whatever path her daughter takes, she will be right there by her side looking after her and giving her support. Both the mother and daughter are glowing. The sources of the light in this painting are from both the sun and from the joy that the mother and daughter bring to each other. I have often heard people describe their children as the light of their lives The matching mother daughter braided hairstyles add to the interconnected bond shared between a mother and daughter. Roses, a symbol of love, are woven into their braids. As I painted this piece, I was intuitively guided to add an abstract brushstroke of green to the left of the painting. That became a representation of the stem of a rose. A stem supports the growth of a flower, like a mother supports her child.

“Ride the Wave” is about embracing who you are and then learning how to use your unique qualities to benefit yourself and those around you. A woman is depicted at peace, despite the crashing waves within her. She does not drown in her emotions, but instead learns how to transmute energy into a positive and beneficial manifestation. She can handle the emotions within her and around her with poise. It points out the difficulty and beauty in maintaining peace while maneuvering rough waters or intense emotional currents This painting is a WIP I plan on putting several more hours/days into it It will be finished prior to the art drop off date. It will show a woman’s face, neck and chest. Her chest and neck area will have a large crashing wave covering the majority of her chest and neck. It will be full of rich browns and blues. I was hesitant to submit such an early stage of a painting, but I felt it really resonated with the theme of this show.

This Little Light of Mine Acrylic and oil on canvas 24in x 30in

$1,400

Ride the Wave Acrylic and oil on wood

36in x 48in

$10,000

WES WARNER

www.unboxedkc.org

@unboxed_kc

I am a cisgender white gay male creative who came to art later in life. My identity covers many spectrums: Veteran of the United States Army, father to a skilled artist, loving husband of 20-plus years, healthcare worker, and, most notably, a Queer social advocate. The type of art I create is mixed multi/media that incorporates painting, sculpture, and technology, focusing on pieces meant for destruction to forge new works that change and grow with time. You can visit my site, wesdoesart.com, for more information.

In this project for the IDENTITY series, I developed the “QUEERED SELFIES” to highlight Kansas City's marginalized creatives and spotlight individuals who typically are on the other side of the canvas. Each one of these unique creatives sparks inspiration, strives to build a strong community, and has done so despite the adversity of this harsh world. Art can connect us, and technology should enrich that experience. Along with the physical paintings to view in the gallery, there is a digital video and podcast where you can witness their painting creation and hear their stories of adversity and resilience. I hope you find meaning in their stories, and they inspire you to take action in your own life for a better tomorrow. Visit my nonprofit unboxedkc.org/selfies for more information