Juxtaposition: The Art of Karen Buster

THE ART OF Karen Y. Buster

THE ART OF Karen Y. Buster

Copyright 2022

The Art of Karen Y. Buster

Text 2022 by Karen Y. Buster

Buster, Karen Y. Juxtaposition, The Art of Karen Y. Buster

All rights reserved. No part of this book may be used in any manner whatsoever

without prior written permission from the publisher.

First Edition

www.karenybuster.com

Acknowledgments

Iwant to thank each of my family members for encouraging me to live my creative dreams. To my mother and father, Mary E. Buster and Lester F. Buster. You both continued to empower, support, listen and cover me with your prayers. You each have served as role models developing a path for me to follow. Teaching me right from wrong and to make sound decisions. You have encourage me to express myself creatively. Neither of you ever question my drive to creative and allowed it to flow freely. You two, have always been my “wind beneath my wings”. Thank you to my siblings, the late Richard “Ricky” Buster, Terri Buster and Leslie Buster Taylor. You guys gave me the green light to draw on everything in our house that wasn’t nailed down. You supported my journey from helping to hang t-shirts on the close lines in the back yard to working in my booth at Delta Sigma Theta Sorority, Incorporated 2013 National Convention. To my big brother, “Ricky” always told me that he that he lived vicariously through me. He too was an artist but as a young father chose to become a Baltimore County fire fighter to support his family. Thanks to my nieces and nephews, Eric Buster, Calvin Buster, Kelli Buster, Shannon Alston, Rachelle Alston and Mark Alston Jr. You guys have help from folding and printing t-shirts to accompanying me to breakdown my exhibition booths during my festivals. I wanted you all to understand just what being self employed was all about.

Thank you to my wife Tracey M. Connor. You have inspired and listened to all of my fumbles and fears as I walked through this entrepreneurial adventure. You have loved me unconditionally and embraced all of my short comings, reminding me that, “I can do it”. You have supported me from loading up the van for an exhibit to re-designing my first website and everything in between. I so longed to have a spouse that would share this dream of mine. So often you have listened to stories of hardship with my past studios and helped me have my special creative space in a spiritual covered environment. You walked with me hand

in hand praying for protection and prosperity. Thank you, Tracey M. Connor for choosing me too.

Thank you to my design team of Larry Poncho Brown, Joseph Ford, and Donna Gardner. You listen to my life story and brought it into fruition via a professional outcome. You each brought your special gem to walk me through this journey one step at a time. I have so much respect for what you each have contributed to making this book come full circle.

Thank you Larry Poncho Brown, Dennis L. Forbes, and Soror Cynthia Butler-McIntyre. Each of you entered my life at different eras. Larry Poncho Brown you have been by my side through my entire professional artist journey. You have served as a wonderful example as to how a career as an artist can work. Dennis L. Forbes when I first met you, I could saw you as a quiet storm. I felt your passion for your love of African American Art. You embrace my style as an artist and talked to me about my direction. To my Soror Cynthia Butler-McIntyre you initiated me in Delta Sigma Theta Sorority, Incorporated in 1978. You have supported and collected my work from t-shirts to sculptures since that time. I have always listened to your cherish words of encourage and watched your strength as a leader.

Thank you Jeff Salva of Archival Arts and Kinya Kiongozi of Digital Printing. You both have provided professional images scanning services and reproductions of my art for over 20 years.

Thank you Lisa and Alicia Clark of Black Art Today. Your talented team has walked with me hand in hand walking in my steps while writing. Our late nights of editing and rewinding my life story. You two help make this process so much clearer. You made sure I “dotted all my i’s and crossed my t’s.”

Thank you to my best friend, Larry Poncho Brown. I call him “Homeskillet.” You saw something in me

over 33 years ago. You have stood my side the entire time encouraging me to make bold moves. You listen to my thoughts silently and know exactly what to say. You have continued to be a source and beacon of light guiding through this awesome artist journey. You gave me tips, secrets, praises and an occasional “tongue lashing.” You never hesitated to give me constructive criticism. You allow me to cry on your shoulder when my dyslexia would cloud my thoughts. You picked me up, dusk me off, and threw me right back out there, never taking your eye off of me. You have always loved and protected me as my brother. You stood beside me as my best man in my wedding. You encouraged me to step out on faith and go to Senegal, West Africa to expand who I am creatively. It was my 1st trip to Africa and I had the prefect tour guide to experience this overwhelming understanding of my “black self.” You watch me peel back the layers and expand my mind.

Thank you to my fellow artist tribe members that have always had positive words of wisdom shared whenever we saw each other: the late Anthony Armstrong, LaShaun Beal, Charles Bibbs,

Leroy Campbell, Sidney Carter, the late Harry Davis, Maurice Evans, Frank Fraizer, Kenneth Gatewood, Paul Goodnight, Synthia Saint James, Grace Kisa, Stuart McClean, the late George Nock, Charly Palmer, Phyllis Stephens, Andre Thompson, the late Ron Witherspoon, Gilbert Young and a host of others.

Thank you to all my extended family, classmates, peers, friends and sorors always supporting me throughtout my direction.

Thank you to all of our 000 crowdfunding Kickstarter Backers:

Potentate Hand Cut Rubylith Film 36” x 24”, 2018

Foreword

Dennis L. Forbes

Amazingly, since early childhood, Karen Y. Buster has been fascinated by the output of acetate film negatives used to produce photographs. The process consumed Karen with inquisitiveness and inspired within her an early obsessive curiosity to examine the process of generating a photograph. Little did Karen know how the making of a photograph from negatives would impact her later and become a major guiding creative source for her as a practicing artist in the future.

In addition, Karen, during her youth, learned how to rely on the spark of genius within her to first study intensively and critically the “negative”, rather than study the rich optical detail outcomes of the chemically developed black and white or color photographs that magically appeared during the development process of a photo negative.

Karen’s curiosity caused her to learn how to incorporate inventive processing hacks to create distinctive art objects with a magical beauty and appeal through her mastery of the all-important “negative” in the production of her art.

Karen’s sensibility to develop her creative artistic eye was enriched by being a staff photographer for both her high school yearbook and college yearbook.

In the creation of her body of artwork, Karen masterfully manipulates her deep-rooted understanding of grayscale and leveraging the reverse of an image that make lights dark and darks light in her creative process for favorable artistic outcomes.

Through a proven winning approach of using traditional, disruptive, and innovative processes while making art, Karen wisely includes transformative avant garde techniques to make her art stand out. The approach of Including a variety of art techniques, new and old in her creative artmaking process, heightens the viewer’s experience, which causes relatability to the artwork and recognizability of Karen’s creative style as an artist. Karen’s artistic style has evolved over the years.

Viewers and collectors of Karen’s artwork now expect to find rich versatile motifs in her multifaceted body

of artwork from her T-shirts, prints, and sculpted three-dimensional works.

When it comes to studio time, Karen becomes focused and driven on her quest to bring to life her ideas using a variety of surfaces. Upon entering the studio, she is confident and persistent; yet she is flexible and accepting when happenstance occurs during studio time. She has learned that flukes can be profound.

While discussing her art, Karen noted that the interplay of her art and the collector was important to her. She talked enthusiastically about the sale of a piece of her art that sold in a Black Art in America Exhibition that was held in Maryland. The three-dimensional sculpted piece fetched several thousands of dollars, which was a historical marker as the highest price paid, as of then, for her artwork. Karen also confided, “I love black and white images.”

As an award-winning artist, Karen’s awards include being the 2014 Female artist of the Year, the recipient of the 2007 National Coalition of the 100 Black Women’s Arts and Culture Award and being the 2002 recipient of the Black Heritage Visual Arts Association’s “Favorite Emerging Artist” award, just to name a few.

When asked what was her favorite award that she has received, she said, “Hands down, my favorite award is Emerging Artist Award. It was my first award of prestige.”

Concerning the business of art and being an artistic solutionist, Karen reveals that as a strategic measure that she embraces new technological advancements in art in order to remain relevant and modern.

As you read and absorb the rich nuggets of this book and enjoy the splendid photographs presented of Karen’s artwork, catch the wave of her creative energy.

Enjoy your exploration of Karen’s body of work contained in this book, which covers more than 40 years of being in the business of art as a visual artist. Read with interest the tapestry journey of Karen Y. Buster as an artist.

Larry Poncho Brown

It’s rare but every once in a long while, we are able to experience something new – a creative force. As fate would have it, I was able to meet this force, Karen Buster, while hosting my inaugural “Featured Artist” event during the African American Salute to Black History Month event on the top level of Baldwin Hills Crenshaw Plaza, tucked in a corner.

She had a perm in her hair and was wearing a skirt just above her kneecaps. I felt we were destined to meet, not even knowing our studios were literally within a three-block radius in Baltimore City. She had accepted an invitation to one of my open studios, and we became fast friends as I sensed she was at a crossroads as a creative, although at this point, I couldn’t gauge what was truly going on in her world.

Depression is common among creative beings and I felt it had touched Karen early on in our friendship. It was a ‘silent connection’ if you will, and one that I had some familiarity with, and I felt it gave me a vantage point to work with and mentor her. Once I realized she was serious minded and had raw talent and only needed someone to make her thwart the effects of depression and immerse herself in the art business.

On a challenge I asked her if she would travel with me on the road for a year. I promised her that within that time, I would teach her everything she needed to know about the art business. She welcomed the challenge and quickly became one of my most reliable roadies. Every traveling artist needs an assistant, more importantly, a safe driver who is sharp on their feet. She was one of the few artists I was okay with driving some of our longest destinations and we logged many miles together. She made me feel protected in all things travel and we’ve been on this journey for 30 years and counting.

There’s been much trial and error, a few arguments, disagreements, sprinkled with a touch of comedy, as we traveled all over the country learning about each other and about the art business. She was a t-shirt artist when we first met and I was determined to help her to become a fine artist. I knew the journey would be

long because of her response to my first question: Are you an artist? It would begin the path for us to understand our responsibilities as image makers. I have mentored hundreds of artists in the last 40 years. I can’t say that I have been able to have an impact on all of them but I can begin to see and predict which artists would be able to move to another level and which artists would apply themselves with the information I shared with them. I witnessed Karen Buster do in two and a half years what would have taken most artists five to accomplish. She was the one mentee who would not stray from my instructions, was an avid learner and had a serious focus on her work. All of these things correlated into us becoming a dynamic duo.

With some assistance with branding, structural or business advice and many bullet points on success, she never wavered in her quest to elevate herself and her work. Many of our road trip conversations gave us the opportunity to be vulnerable in a number of ways, mostly by allowing us to talk about life and how it correlated with enhancing our abilities to become professional artists. Hours and hours and more hours of driving throughout this country paved the way for our kinship that had an influence on both of our works. Watching her learn and apply what she was taught was quite a pleasure and made up for the many years of artist mentees who attempted to take shortcuts and not pay their dues. Some sought fame rather than success. Karen was willing to extend herself as a student. The year went rather quickly and it was quite the sight to behold, as I watched her begin building another aspect to her business as a result.

Karen is quietly brave. She embraced all possibilities and took no shortcuts. It has been an honor to develop our brother-sister relationship throughout the years. I am indeed her little big brother. Artists are often accused of being competitive and I believe that’s misinformation. We seemed to work cohesively as we embraced this new thing in our lives - art and the business thereof. Karen has been a great confidant and continues to be so because her loyalty is part of her magic.

When I have discussions with our peers about the top ten contemporary African-American women artists, Karen Buster is always somewhere on the list. In a male dominated society this accomplishment is noteworthy. I hope her work continues to grow, blossom and that she is unceasingly brave, using her gifts to inspire others. It gave me a great sense of pride to witness her become the first woman artist to be selected for the coveted Featured Artist selection at three major events including the Black Heritage Art Show in Baltimore, MD; Sankofa Fine Arts Plus in Cleveland, OH; and the Capital Jazz Festival in Columbia, MD. Karen has always played with the big boys, and like her tomboy childhood days, she’s been able to play the game and win the respect of all of her peers.

I continually remind her that she’s not yet created her best work, and it will occur over increments of time. Karen’s number for completion appears to be eight. It took eight years to screen print her t-shirt onto

paper and eight years to produce her images as cut out sculptural forms. All great things, impactful influences, and pressing beyond your comfort zone – take time.

As you turn the pages of this book I hope you are as inspired as I have been working with Karen over the years. Know that what you see is in no way as simple as it looks. It’s not even possible to wake up and begin to do what she does. If you mimic her style, that is all you will achieve – a copy. This is a condensed summation of Karen’s artistic journey. Her work is a testament to what hard work will achieve. You cannot get the reward without putting in the work. I hope her work motivates, inspires and propels you off of your comfort zone and into the real game. No excuses. This book, hopefully, gives you an overview of the many transitions and evolutions of Karen. I proudly introduce you to a friend, a confidant, my sister from another mister, the notorious Karen Yvonne Buster.

The Artistic Journey

EARLY CHILDHOOD

I was born and raised in Baltimore, Maryland. I grew up with my 3 siblings, Richard “Ricky” Buster, Terri Buster, and Leslie Buster. The girls are 5 years apart and my brother, 2 years older than me. The 7th member of our household was my paternal grandmother, Dorothy Buster. We affectionately called her “Grammommy” and she loved to bake for her grandchildren.

I was also surrounded by my maternal grandmother, Melvina “Momma” Lanier and Uncle Arthur Lanier. Uncle Arthur was a fine artist who lived and studied in Boston, Massachusetts. He moved back to Baltimore to become the curator at Walters Art Gallery. Uncle Arthur believed in constructive criticism and had no problem critiquing my work. I would show him my drawings and anticipate the fallout.

Having a big brother in the house with 3 girls gave us a feeling of protection. My dad, Lester Buster, wanted to raise his only son with responsibilities, so he made Ricky Leslie’s Godfather. I thought that was weird, but Ricky embraced the challenge and protected her as a big brother and Godfather should.

My Dad spoiled his daughters with unconditional love. We were all “Daddy’s girls” and my mother, Mary Buster, was the nurturer, disciplinarian, and enforcer.

For the first five years of my life, it was just me and Ricky. Although he was very protective of me, he would constantly set me up to get in trouble. I remember once he told me to take a dime from our dad’s dresser and he would take eight pennies. So, when we went downstairs, he told our father that I took a dime from his dresser. I was in total disbelief that he just ratted me out. Wow, he had just promised that we would be in this thing together. Still in amazement, I turned to our dad and shouted, “Ricky told me to do it” My Dad replied, “I told Ricky to get 4 cents for each of you for milk money, but I didn’t tell you to take the dime.” Though I did not get punished, my dad told me never to take anything from him again because he would give me anything I needed, all I had to do was ask. Ricky teased me all the way to school. This was one of Ricky’s many setups.

Growing up, I admired the way my mom carried herself; she was delicate, ladylike, and very soft spoken and everything had its place. Both of my sisters were “girly”, but I was the total opposite. I was a Tomboy and would run, jump, climb, pop wheelies, shoot Scully in the streets, and 4 square dribble with the best of them. The boys would always choose me to be on their team when playing football, basketball, kickball, and baseball.

We were all able to be children. Never knowing that we were not rich…but knowing we had a family of love.

GROWING UP

Creativity was a constant in our home. My art was different from the art that other kids my age were making, and it made me feel different. My mom used to tell me “Different is okay, there’s nothing wrong with it and not only are you different, what you’re doing is unique.” So that inspiration was instilled in me early. I come from a line of creative people. My mom was a designer, my brother was an artist, my middle sister Terri a poet and my youngest sister Leslie was a dancer and actress.

Dad was the most successful man that I ever knew and my biggest supporter. He would advise me on life and being the best at whatever I chose to do. He was a very hard worker, sometimes working 2 jobs to support his family. Dad loved us individually and collec-

tively. As stated earlier, I was a tomboy, and my sisters were both girly girls. My mother, in an attempt to make me more girly, put me in Patricia Stevens charm school at age 8. While there, I would learn to walk with a book on my head, knees slightly bent, and butt tucked in. However, when I got back home, I would throw all that stuff down, rip off my clothes and jump on my bike to go play with the boys. My dad got a kick out of witnessing this and wondered why he was wasting his money on this program for me. He knew who I was at an early age and always made me feel loved. My dad was my rock and my strength, and I wanted to be just like him. Whatever he did in his professional life, I wanted to do because I wanted to make him proud of me… and I still do.

My father was well known throughout Baltimore. Everyone knew his name, be it from his work as a Social Worker, his civic activities as a member of Omega Psi Phi Fraternity, his membership as an International Shriner or the work he did through The Masonic Society. Whenever I would tell someone my name, they would ask if I knew “Lester Buster”. As a result, I felt I had no identity of my own and I was excited about leaving Baltimore and moving to New Orleans to attend Dillard University. I would be on my own and be able to make a name for myself.

When I returned to Baltimore and opened “Bustertizin”, my father promised me that one day, someone would ask him if he knew “Karen Buster”. To this day, every time it happens, he is excited to tell me and reminds me of what he said years ago.

1965 is probably as far as I can remember back doing any kind of drawing. I would draw at Edgewood Elementary school and would bring my art home to my mom. She would look at my drawings but did not put them on the refrigerator as other parents might do, she instead framed them and hung them on my bedroom walls. It was her way of helping me to understand that I had created something very special, and it needed to be protected and shown. Unbeknownst to me, I was also learning what it meant to have a gallery.

Between the ages of eight and ten years old, drawing was “it” for me. Drawing was something I could get lost in and separate myself from everybody else.

When I was not outside competing with the boys, I would be in my room with my work. Sometimes I preferred to be in the house drawing or watching my mother sew.

When it came to art, I always wanted to compete with my brother, I would emulate the characters that I saw him draw. He drew a lot of cartoon characters like Batman, Spider Man and The Incredible Hulk. I knew that if he could draw it, I could draw it better. This was another example of my competitiveness at such a young age. The fact that he was very clear that he did not see me as competition made me try harder.

SEEING THE POSITIVE IN THE NEGATIVE

When photographs came from the store, everybody would be looking at the pictures, but I didn’t want to see them, I wanted to see the negative strip. I had no idea what it was about the strip that intrigued me so much. The strip got more attention from me than anything else. I loved the way the negative and positive images would interact. I would hold the strip of film up to my eye and zoom in on the positive images to figure out just who was in the photograph. I would have to really look at the negative strip and study it to figure out exactly what was going on in it. At six years old, my eye was being trained to look at things as negative and positive spaces. Never knowing that it was training my eye to carry the initial concept from then to now when cutting negatives and positives.

IN THE MIST

I began creating my little stick figures at Lemmel Junior High School in Baltimore. I would always hear people say, “You really can draw, I can’t even draw a stick figure.” I did not understand that. I drew stick figures all the time and I wanted to be able to bring my stick figures to life. As a pre-teen I was able to draw an entire eyeball on my bedroom wall. Inside that eyeball, I had the characters doing everything that my family did daily. I had an image as a dress designer sewing a dress. I had a little purple Volkswagen Beetle Ricky used to drive all the time with the lacrosse stick sticking out of the window. I was a track runner, so all throughout that eye, I would have images of my little people running relay races around the eye itself. Terri, my middle sister, the poet had a microphone and ink pen in her hand to show that she was a writer. Leslie, my youngest sister, loved to dance and act. I had her in different costumes dancing

throughout the eyeball. I had my dog Flint running around the eyeball, peeing on a fire hydrant. My Dad is a member of the Shriners and Omega Psi Phi Fraternities, I had him stepping while wearing the official Shriner headgear, a Fez. My grandmother, Dorothy Buster, lived with us at that time, so I had her in the kitchen taking a pie out of the oven. Ultimately, that eye I drew on the wall was my eye and how I saw the creatives around me. I find myself, even now, doing the same kind of thing while just sitting and looking at everything around me and trying to find a way to bring it into fruition.

I had no idea the foundation that I was receiving as a child and a teenager would shape my desire to continue to create. When my mom would bring her fabric home from the store, she would lay it across the ladder from the top, and the fabric would drape down and wrap around the ladder. As she was imagining what her garment would look like finished and how to make it move, I would focus on the movement of the fabric and I would see how the pattern would wrap, turn left, right and swerve. I would really examine it, almost like with x-ray eyes, looking at just how the lines were going, and how I could do that same movement in my work.

I did a lot of line drawing, because with the lines I was able to make them sway left and right. On paper I would recreate a whole idea of what the fabric was doing. I loved looking at the geometrical shapes on the fabric of a checkerboard shirt, or polka dots or anything with patterns. When I saw them change direction on where your arm would be or where your leg would be or where your sleeve was going to be, then I would make my patterns change direction and do the same kind of thing. That is how I saw movement come into the pattern.

The encouragement from my family really took me a long way. Each one of the steps I took as a young person, ultimately enhanced my style of work you see today.

I was always encouraged to continue to be creative, different, and unique. I remember at one point in time, I really did not like the fact that I could do things that were different from other people. Because I felt like it made me stand out and I did not want to stand out. I liked being behind the work, so when you

see the work, you will not know who it. The encouragement of my creative household allowed me to keep drawing, designing, creating, and coming up with these ideas and hanging them up.

My family reinforced the fact that there was never anything wrong with what I was doing. Some people call it God’s gift. I do believe that, but I did not understand why I was able to do something different than other people. I wanted to be like the norm. In all honesty I was abnormal (so to speak), and that was not a bad thing.

I remember while at Walbrook High School, I was always asked to create a bulletin board, flier, poster, or anything that a teacher or a student needed to have drawn. I would do it because it was my way of being liked. All kids want to be liked, so I did a lot of that. I was the yearbook photographer in high school. It reintroduced me to film and negatives. I got increasingly interested in shooting photos and it developed my eye to be able to pull the negative & positive space out of the images that I was shooting.

It allowed me to look at people, pay attention, and visualize through a lens versus the film. So, photography was something that really grasped my attention and really kept me grounded. I continued to keep my eye behind the camera and just look at the different images and put them into perspective. As a photographer it allowed me to make the camera lens my eye, and ultimately, I made my eye the camera lens.

I created our yearbook images and throughout it, my little people were running around. My High School art teacher, Mr. William Jessup, a powerful man, always encouraged my creativity. He would say “Don’t stop creating.” Mr. Jessup talked to me about going to art school. I never thought my work was good enough to attend art school.

That was back in the seventies and even to date Mr. Jessup still comes out and supports me. He still tells me how proud he is of me. You just never know how important your teachers are. Mr. Jessup was very instrumental in my creativity as a student.

EMERGENCE

In 1977 I graduated from Walbrook High School and started to prepare for college at Dillard University in

New Orleans, Louisiana. It was a very poignant and influential time in my life. It was the first time that I had really been on my own living away from home and my family.

What I loved the most about New Orleans were the people and their laid back, lackadaisical way of life. The city itself was always moving, active, vibrant, and colorful. It was whimsical, with music everywhere. There was movement everywhere, but nobody was in a hurry to do anything in particular. It was just my speed. I was that kind of person, laid back and preferring to be behind the scenes.

As a first-year student, I found myself designing a lot of the bulletin boards, event flyers and programs. I even designed a billboard across the street from Dillard University. It was just a different way of creating art.

I really came into myself and became my authentic self while living in New Orleans. It was a particularly important time in my life, I started to feel whole. I wanted to capture the energy of the people

and the movement of the city. I had this thing about drawing my ideas of people.

I continued to infuse myself and my creative process with New Orleans traditions and celebrations such as Mardi Gras, The Jazz Festival, and The Bayou Classic. The people in New Orleans partied, but it did not necessarily have to be for a reason. They would even party if there was a hurricane coming. One of the things that really got my attention was just how upbeat things would always be during a funeral procession. Everybody was joyous, dancing, and second lining. It was the total opposite of what I was used to seeing in Baltimore. This inspired me to do a couple of art images of funeral scenes. My little people were hopping everywhere because that is how I viewed what was going on.

Over time, my images started to not only take shape, but they started to become many mini personalities that I would run across. My little people allowed me to step into other worlds of creativity, because I could make an image do what I could not do. It was another way of thinking, but it worked for me. My mindset was not to organize a goal in any particular order, like 1, 2, 3, 4, 5. In my mind, my order might be 5, 4, 3, 2,

1. Backwards to some, but I saw it as going forward opposed to backwards.

Once I saw how joyous funerals were, it affirmed that it was okay not to look at something and see it the way that others see it. I realized that I did not have to create something the way that other people did but I could take a style that is different from the norm and find a way to embed it inside of my style.

Every time someone said, “wow you can draw, I can’t even draw a stickman”, in my mind, I would say, “well let me show you what a stick man can do.” I used to have little stick figures drawn on everything. I drew in my notebooks; my little stick figures would be throughout the pages. Even when I signed my name, it was a stick figure opposed to the actual signature. It was well known that a stick figure would be somewhere in my design. It may not always be obvious but if you look close enough, you will find it. It was a representation of how I basically fused myself into the background. I was content with that, letting it be my voice. I thought that I could say so much more visually, than I could verbally.

X-ACTO

One of the major things that came out of 1978 was starting my t-shirt line, which introduced me to my tool of the trade, the X-acto knife. It became what I drew with. I drew with that Xacto knife as I designed the images to go on my t-shirts. I would cut my design into Rubylith film creating negatives or stencils by hand. Using an X-acto knife is second nature to me.

I always get the same question, “How do you see the opposite of what you are printing?” The best way to explain my process is using the example of carving your initials into a tree. Imagine looking at a tree and carving your initials into it. You do that because you imagine your initials in your head and go to that blank canvas “the tree” and start cutting away on the bark to leave the image that you want to create. Essentially, that is exactly what I do with my X-acto knife when cutting away the image I wanted to print. When I print it, it appears as the opposite of what I was cutting.

The process does not end there. I have the ability to see negatives in my head. As a child I was able to look at the negative film strip and imagine the outcome of a photo. That ability lies dormant in the back of my

mind but comes to the forefront of my brain when I look at everyday images. It is almost as if I eliminate color and just see the skeleton form in black and white. It allows me to really examine lines of an image and not the color. I see my eye almost as an x-ray machine that can look past the surface and go into the details of how it all comes together.

DELTA SIGMA THETA SORORITY INCORPORATED

In 1978, I pledged Beta Gamma Chapter of Delta Sigma Theta Sorority, Incorporated at Dillard University. It was probably one of the most significant things that happened to me. My pledge period allowed me to have additional sisters. I know sometimes it may sound like a cliche, but I got a lot of support. When it came down to my work, I started doing a lot of the Greek paraphernalia on campus. I designed a lot of t-shirts. I turned the attic of the dorm into a printing company, and I got a kit, and the kit was entitled ”Wanna print a t-shirt”? I used the kit to teach myself how to do silkscreen

OBJECTIVE

As a beginner, I did not know how to do color separation. I would cut my own screen positives to print. That goes back to how I see the negatives and the positives in an image. It was easy to do because all the organizations were only two colors. You had red and white, black, and gold, purple and gold, blue and white, and pink and green. I would make a design and I cut the opposite of what I wanted to happen on that t-shirt. How can I bring those images to life with it only being a one-color design? Well, I got into doing a lot of patterns. I would cut geometrical shapes in my designs. I would make the patterns move all over my grown-up little people with clothes on to make the images step and move across the shirt.

I had to bring color into those shirts by way of repeating patterns that brought the images off the shirt. I did the Greek paraphernalia but realized that I had a whole other market of students that I had not reached. I had not designed anything for the students that were not Greek.

Because I did the DeVine 9 Greek paraphernalia with colors, I decided to create a black and white line for the non-Greeks. At that time, I was unaware of any organizations that were just black and white. This was the perfect opportunity to create my niche and step into that world. Being able to offer all the other students an opportunity to wear my black and white designs ultimately took over everything because, not only did the people who were not Greek purchase them, but the students that were Greek started to buy as well. So, my shirts would just float all over the place.

I was doing my business in the dormitory attic and the students would come over to the dorm to buy a shirt from me, instead of going to the bookstore to get the Greek paraphernalia. Nothing outside of symbols was offered in the bookstore and that really made my illustrations on my shirts really take off. Some of the Greeks from the other schools come over to the dorm to find me on campus to buy my shirts.

In 1980, while at Dillard University, I obtained an internship with Cunningham and Walsh, an ad agency in Manhattan, New York. While working at the agency I drew using pen and pencil and not with my instrument of choice, an Xacto knife. I was like a

fish out of water, but it allowed me to step back into a creative realm that I had not touched in a long time.

What I remember most about working at the ad agency was being charged to create some imagery, completing it, and releasing it for review. As soon as I released the drawing, the editors would start erasing and making changes to my work. Needless to say, I felt some kind of way. Knowing that I had created something, and somebody could so easily just erase it and change my art, did not sit well with me.

That was my introduction to corporate America, and may I say, it was not a good introduction. I made a conscious decision that this was not what I wanted for a career. The mere idea that someone had the authority to make major changes without consulting me was offensive and an eyeopener. Surprisingly, I was offered a position to come back to Cunningham and Walsh after graduation, however, I respectfully declined. The atmosphere in New York was cool although it was the total opposite of living in New Orleans. In New York, everybody was in a hurry, always rushing somewhere.

During my lunch breaks, I would just sit on the steps of the office building and people watch. I would watch people running around all over, hailing cabs and darting across the street with coffee. Everybody had a briefcase. They were focused only on getting from point A to point B. Then, I would imagine all those people running around as my little stick figures. Conversely, in New Orleans, you did not rush, you just kind of stopped and smelled the coffee and enjoyed looking at the beauty of New Orleans. The stark contrast between the two cities resulted in me creating my little stick figure in two different styles.

I graduated from Dillard in 1981. I was excited that I graduated, had my degree, but I did not have a plan, so I moved back to Baltimore to figure it out.

Moving back to Baltimore was an adjustment. I moved back into my parent’s house, and I was home for about three months and knew that Baltimore was not the place for me. I was unable to be in my comfort zone. I needed to feel New Orleans again. They say that New Orleans is not the town, but it is the people, because you feel like this is where you belong. That was my bubble, and my creative space, and being there was where I needed to be to keep being creative. The whole musical atmosphere and movement that New

Orleans provided for me was my creative source. I was not ready to leave that festive city behind. My images were my peace of mind. I was able to hide behind them for years and now we were no longer in our safe haven. So, I moved back to New Orleans and reconnected with my creative source and Dillard University as a residential hall director.

Living in New Orleans, I found freedom to be myself and create my images openly. My little people were as accepted as I was. I lived vicariously through each of them. This is how my art allowed me to speak without using my voice.

It felt good to be back in my comfort zone allowing me to pick up where I left off. The flavor of New Orleans was in me and in my work. I was able to walk the streets and feel the sounds of music and movement. I created that theme throughout my work. My images began to move and groove just like the people of the city. I would go to different areas of the city to recreate festive musical themes. I remember recreating a funeral procession with my images “second lining” behind the hearse. Parties and picnics on the lakefront were a recurring theme. It was an incredibly happy time for me, and you could see it in my “little people.”

Being back on Dillard University campus working as a residential director, there was a 2-year age difference between me and the other students that were in my dormitory. As a result, I still had the connection and support of creating and selling paraphernalia to the students. I picked up where I left off and continued to print in the attic.

My RA’s (residential assistants) were my staff. I gave them opportunities to work as my interns and they would print with me, go out and sell, and they would take orders. Hence, Bustertizin Designs started to really bloom.

That was the name of my printing company, Bustertizin Designs. Bustertizin is a takeoff from my last name, Buster, and advertising. So, when you were wearing my garments, you were Bustertizin. I saw the name as a way to open the lines of communication for people to ask the question, “what is Bustertizin?”. It allowed my little people to go all over the place. The business continued to thrive, and the popularity of my style allowed my little people to run all over New Orleans.

I continued to print on campus from 1981 through 1987. In 1987, I rented a small Kiosk for $450 monthly in Gentilly Mall, which was probably 20 minutes away from campus. I would do my screen printing on campus, take the shirts down to the mall to sell them. I sold Greek paraphernalia and was able to take orders for custom pieces while in the mall. This was my first experience in a retail environment.

The experience forced me to become more structured. It was a blueprint to see if operating a retail business was a viable option. It proved to be a wake-up call. I went from minimal overhead to having a major expense of paying rent for a retail space in a mall. As an artist, it caused me to shift my focus from the creative side and focus on the business side of Bustertizin Designs. Due to the shift in focus being on the business, the mall retail space made my business feel even more legitimate.

In 1985, I reconnected with my college sweetheart, Michael who had pledged Alpha Phi Alpha while at Dillard. We seamlessly picked up where we left off in 1979 and spent a lot of time with each other and our Greek coupled friends. It seemed like all our friends were getting married around the same time. That must have given Michael the idea to ask me to marry him. In my attempt to “straighten up and fly right” I decided to say “Yes”. So, we got married. But he became increasingly verbally abusive, and it began to interfere with my creative process. So much so, that I found it impossible to function clearly which completely siphoned my creative process. I had no peace of mind and was unable to reach my inner soul. I was absent. I had no idea how to fix it and get it back. After 8 months of marriage, I moved out. After months of separation, I regained focus on my creativity. I moved in with an older coworker and her husband for a year until I moved back to my family in Baltimore, MD as a caregiver for my grandmother.

Grammommy was not your usual grandmother, she decided to go to Nursing School thru Providence Hospital at the age of 50. During that time, students had to dress the part while attending classes. I remember her in her white uniform, white hat, white stockings, and white shoes with a stethoscope around her neck, walking out the door on her way to school. Once she graduated, she became a pediatric nurse at Providence Hospital and worked in that profession for over 10 years. She was very serious about her position as

a member of the Nurses Guild at Gospel Tabernacle Baptist Church one Sunday every month. She sang in the choir all the other Sundays. As a 5 year old child, I followed in her footsteps and joined the Tabernacle Angels Choir because I loved hearing her sing at home, and I wanted to sing like her.

Grammommy was a very nurturing and loving woman. She had dry humor and loved to tell jokes. She was very compassionate but took no nonsense from anyone and always spoke her mind. She was very skilled at crocheting and made all her Sunday outfits. She also sewed, was an avid spade and bid wiz player, and could bake the best cakes and pies you ever ate. Grammommy loved her grandkids and would do just about anything for them.

In 1987, Grammommy was diagnosed with brain cancer and ultimately placed in hospice at home. I decided that I was going back to Baltimore to become one of her caretakers. The time I spent with her was priceless. My entire family shared 24-hour shifts to take care of Grammommy each day. My shift was from 7:00 am until 7:00 pm. It was just the two of us at home because everyone else was at work or school. I was not working at that time so I would print t-shirts in the basement while she was napping.

Grammommy and I talked about my fear of losing her during a seizure. She told me not to be afraid because she surely would die and the way it will happen is all a part of God’s plan, so there was nothing for me to be afraid of. Three days prior to her passing, Grammommy stopped speaking. One of the last things she

asked of me was to promise that I would follow my dream of being an artist instead of becoming a Maryland State Trooper. I promised her that I would…and I kept that promise.

The morning of March 22, 1988, I went back upstairs to check on Grammommy again; she was awake, so I sat on the side of her bed as I usually do. But this time was different. The way she looked at me was different, it felt different. She was unable to speak verbally, but her eyes told me that she was ready. Her time had come. We gazed into each other’s eyes, she smiled and exhaled as she took her last breath, and I gently closed her eyes. At that moment, we were both at peace. My Grammommy was no longer in pain, and I was there by her side for her last moments. I am very grateful to her, because I will always believe she waited for me so I could witness her peaceful transition.

While turning my parent’s basement of the row house, printing t-shirts, Bustertizin continued to thrive. I still had no professional printing equipment. I was printing the t-shirts in the basement, the same way that I printed the shirts in the attic. Then air drying them in the ceiling, hanging them on the clothes lines in my parent’s yards and in the backyards of the neighbors on both sides. I would feed rope through the gates of the fence to hang 200 to 300 t-shirts on hangers with wet ink allowing them to dry overnight. Unbelievably every t-shirt would be in place in the morning. I would take down each t-shirt, fold, and box to take to them to the Greek Festival in Philadelphia, PA to sell. This was an extremely popular picnic attended by

Greek organizations from the East coast that I exhibited and sold my Greek paraphernalia for years.

In 1990 I lived and manufactured t-shirts in my first warehouse which was located on Franklintown Road in Baltimore, MD. Gail Neismith and Eric Buster were my employees, this was my first experience being a “real business”. Most times, I never paid myself but knew it was a priority that my staff was paid on time. Gail was my Walbrook High School Alumni, we reconnected once I returned to Baltimore. “Money” as I called her, stood by my side through “thick and thin”. Eric was my nephew and eventually moved in with me while working as a printer. Eric was the son I never had and allowed me to pour knowledge into him. We grew together to make the business flourish. I was honored to have them support me.

My warehouse was in the middle of the hood. I had a 140 pound German Rottweiler named “Buster” to watch my back. He was one of three rottweilers that I’ve owned. Everyone in the neighborhood knew that I had him and I never had any problems in the nine years I was open on Franklintown Road.

I was sub-contracted to print 15,000 t-shirts for the Md. State Highway Administration. We printed t-shirts 18 hours a day for 2 months straight and I was unable to do any of my custom work. This was a valuable lesson.

My warehouse was within walking distance from Poncho’s studio. I had no idea how close we were until he and I spoke in Los Angeles, California. He invited me to come to his studio and we talked endlessly. I loved the atmosphere when visiting his studio. When I returned to my warehouse, I re-created that mood and positive vibe. Who would have thought I had to go all the way to California to meet my best friend that was “right around the corner!”

I originally started printing on textiles and Poncho introduced me to printing on paper in 1992. He encouraged me to transfer my images from t-shirts to serigraphs to elevate my work. A serigraph is a high-quality limited edition fine art print made on high quality paper. This process opened a whole new chapter in my career. It was a pivotal turning point in the direction of my artwork. This process catapulted the value of my images.

HEART ATTACK

In the late 1980’s I had a heart attack, and it inhibited my ability to create for almost 6 weeks. Art was my way of dealing with the stress I experienced in my personal life. I could always use it as an escape from reality, however it got to the point where it was no longer enough, it was only temporary. The stress eventually became so overwhelming that it resulted in a heart attack. I was young and healthy and never would have imagined that I would have a heart attack much less from stress.

I was blessed that the heart attack did not cause any damage to my heart or arteries, but I did have to have a catheterization. I experienced creativity in all situations including in that operating room. As I laid on the operating table, I was conscious and able to see what was going on in the monitor above me. The surgeon injected dye into my veins, and I watched the dye travel throughout my body. At that moment, I envisioned it was God’s way of cleansing me of all the stressors and everything that was bothering me. This was his way of freeing me so that when I got off

the operating table, I was going to be a brand-new unstressed creative.

My recovery gave me the opportunity to think about what I was going to do with the two most important God given gifts, my life, and my ability to create art. That was the first time that I really was unable to do it. I promised God that once I could get myself back up and running again, I would make the necessary changes to keep stress out of my life and continue to allow art to be my comfort zone.

SBA LOAN

In 1988 I continued to print the shirts out of my parents’ basement and would do festival events; Afram and Artscape. I still traveled to Philadelphia and did the Greek picnic and any other opportunities I had to exhibit and sell t-shirts.

I printed hundreds of t-shirts throughout 1988 and 1989 because demand without supply will kill you. I had the demand; my t-shirts were all over Baltimore, but I was struggling to sustain the supply. We had an event called the Afro Clean Block Competition. It was the Afro newspapers’ way to offer and provide specialized shirts to neighborhoods with the cleanest block. Seeing my custom t-shirts on each family member was a beautiful sea of art. Over the next three to four years, my business continued to really grow through that campaign. That project was something that really put my name out in Baltimore City. Based on this I decided to find funding for professional equipment.

Moving t-shirts was my full-time job, so I decided to apply for a Small Business Administration (S.B.A.) loan. I realized that I needed to have professional equipment that kept up with the demand of my work and improve the print quality of the t-shirts. Prior to the equipment, when you washed the shirts, the image would fade over time, however when using the equipment, I was able to use professional material called plastisol ink. Once the shirt went through the conveyor belt dryer, the image was baked onto the shirt which allowed it to remain vibrant. My thought was, if I am going to take the time to create original designs for my t-shirts, I want to make sure that the image remains totally intact.

Shortly after applying for the SBA loan, I was approved for $50,000. I had the support of my parents

who co-signed the loan and put their home up as collateral. That was a reality check that made me understand what could be lost if I did not pay this loan back. My parents’ sacrifice showed me the support and faith they had in me and how much they believed in what I was doing. They believed that I would be able to pay the money back. Their sacrifice was the greatest moment, the biggest compliment, and a lot of added pressure. They knew I could do it; I knew I could do it, and I did it.

I exhibited every opportunity that I had, but more so than that, I really built up my custom design business. My images were unique, which resulted in people coming to me specifically to get their designer t-shirts. I would design for family reunions, teams, and organizations. Most of the people thought “Buster” was a male nickname so everyone that came to my warehouse thought they were coming to see a guy. They had no idea that it was a female running this textile printing company. At that time, I was the only African American female textile printer in the state of Maryland. So, it made me unique in a male oriented world. Not only was I a female printer, but I was an artist that printed. So that was what separated me from a lot of the other textile printers in Baltimore city at that time.

PONCHO

1991 was a major turning point in my life. I traveled to Los Angeles, California to take part in an art exhibition being held at the Baldwin Hills Crenshaw Mall. There were several pivotal and “Aha” moments during the exhibition, but meeting Mr. Larry Poncho Brown was life altering. Poncho befriended me, and that friendship was critical in my journey as an artist.

Another highlight during the Crenshaw exhibition was meeting my first major celebrity, Ms. Sheryl Lee Ralph. She came to my booth, signed autographs, and helped distribute my artwork. I had a cake that had one of my images on it, she graciously did a photo shoot with me cutting the cake. That was impressive. I was very appreciative that she took the time to support my work. That was the first of many celebrities that have supported my artwork in some form or fashion. I saw it as a blessing in disguise.

After returning from the Baldwin Hills Crenshaw Mall Exhibit, I remember going into my studio on a

day when I was really upset with myself because I felt like I was spinning my wheels. I went to visit Poncho’s studio and he was somewhere in the back. I remembered as I walked into the studio, it was like walking into another world. I forgot why I was mad. The music was playing, and artwork was everywhere. It really was uplifting. I loved the feeling that I received when stepping into that place. It changed my mindset. It made me understand the purpose of art. Art was able to change my mindset from something that I was not feeling good about, and just looking at it uplifted me. Just by being in this creative space.

It moved me to the point that I wanted to emulate that feeling, that groove, that I received when stepping into Poncho’s studio, into my studio. I immediately returned to my studio and within a few hours I started recreating my studio. I framed my t-shirts and hung them on the walls. I played music and it popped throughout my entire studio. I just made it comfortable for me and my clients. As people walked into the studio, they were able to walk around and look at a constant flow of samples of my t-shirt designs.

ON THE ROAD WITH PONCHO

I began to travel extensively with Poncho to shows throughout the country. Each exhibit allowed me to learn art management in a manner that you can only learn from hands-on experience. Each exhibit was a different adventure filled with new lessons.

Our main form of transportation was a white panel van that we affectionately called Casper. Casper was our mobile confessional, where we candidly discussed art and our lives beyond art. As we traveled, we would talk all the way there and all the way back. I remember on the first trip going to a trade show in Atlanta, Poncho asked me if I was an artist. He said, “Are you an artist?

When Poncho posed that question to me, “Are you an artist?” I hesitated because I have never thought of myself as an artist. I could create, but never put a formal title to it. I was creative and was a T-shirt designer. Bustertizin was who I was. The idea of Karen Y. Buster the artist never even registered to me. I realized something as simple as identifying myself as an artist changed my thought process. It was as if another world had revealed itself to me. The door opened for the textile printer to change into a fine artist.

AWAKENING

This is different, a totally different mindset. I elevated myself creatively. I mixed and mingled with like minds. I could now converse with other fine artists and pay attention to the footsteps of an artist. I took my gift more seriously. I looked at my images and created my images at a higher level. I paid more attention to professional displays, continuing to travel this circuit with Poncho. He whispered in my ear at times, “Presentation is everything.” Presentation is who I am. I am Karen Y. Buster, an artist. This shift in my career catapulted me and my work to another level. I began to work with a purpose. I began to walk the walk and talk the talk. I embraced my new discovery as to who I am, “an artist”. I decided that this is a chapter that I was destined to walk into. It was so very easy and comfortable for me to say I’m an artist and walking away from that textile zone, walking into the next chapter.

What would have happened earlier in my career if I had been asked this question? I am very thankful that Poncho saw something in me that I did not even realize was in myself. But the most important thing was he knew that I needed to change my mindset as to who I am. Who I am. I am Karen Y. Buster, an artist. That was a shift in my career. That was a shift in my mindset, and it was a shift in my destiny, a very pivotal point in my life. From that moment on, I would identify myself as Karen Y. Buster and I am an artist.

Influenced by Poncho, I gradually started transitioning from printing on textiles to printing my artwork on paper. The transition was necessary because textile printing was physically demanding and labor intensive. Eventually, I no longer needed the large equipment that I used for t-shirts, so I sold the equipment. I set up my studio space so I could pull my own serigraph prints. I realized that I could make printing on paper and not textiles work for me. When I did not pull my serigraph prints, I would find different places to produce Giclée’s for exhibition. Thanks to my friend Poncho’s prodding, I had started my transition into the world of fine art.

In between exhibits, Poncho continued to encourage me to produce my work. Our relationship extended beyond our travels, as I regularly hung out with Poncho at his studio. I would go there to frame my pieces, as he selflessly imparted wisdom about art and life.

Anybody that knows him already knows what I am talking about because he is that kind of brother.

It is said that the power of life and death is in the tongue and Poncho gave my art career “Life.” As I reflect, Poncho saw me as an artist before I saw myself as an artist because he always introduced me as an emerging artist to his peers. I must give him his kudos because if it had not been for Larry Poncho Brown, I would have never stepped up, and stepped into this world as an artist. So, thank you, Poncho. Thank you.

While breaking down Poncho’s booth exhibit in Philadelphia International Expo, once again I got pranked by the best. Poncho instructed me to watch his backpack while he went to get the van. As I continued to break down and pack up the booth, he snuck back in and grabbed the backpack and hid it. He then came over to me and asked, “where is my backpack?” I began to panic once he said his money from the show was in it. Poncho watched me sweat and squirm, with his stern face and then informed me that he took it. My lesson was to always be aware of what’s going on around me the entire time of the exhibit.

SECURITY SQUARE MALL IN BALTIMORE, MD

I decided to take a chance and go into one of the major malls in Baltimore to show my pieces. I was just thinking that I needed to be in a pivotal and poignant location where people came to regularly. So, I leased a kiosk and opened Bustertizin Designs again. The mall kiosks also positioned me to direct clients to my studio for custom design and printing. It was eye opening.

It reminded me of the Gentilly Strip Mall in New Orleans, but it was significantly different. It was a larger platform because it was a substantially larger mall. The mall clientele was larger and more diverse thereby giving my work more exposure. The mall hours were long and I had to be open 66 hours a week. It was an eye-opening experience trying to run the kiosk and manufacture the t-shirts. I hired two college bound young men to work my stand, while I designed and printed t-shirts at my studio. Business was incredibly good.

The responsibility of having paid employees took me to another level from being a hobby to a business. That was a new experience for me, and I quickly grasped the importance of being able to pay your employees. Up until then I always had volunteers that were willing to support me in all of my endeavors. They would hang t-shirts on the line, travel with me to Philadelphia to the Greek picnic for free. The support of my family and friends was and is still unmeasurable. I am blessed to have people that have my back.

From 2000 until 2005, I continued to do all the local festivals in the city that I could to set up and show my products. We had Artscape and Afram, two major festivals in Baltimore city. I made sure that I always participated in both festivals every year, so people could see and support my work on a regular basis.

I really enjoyed working at those festivals. It gave me an opportunity to meet, greet, and talk to new and existing customers outside of my warehouse studio. I love talking to people. The festivals gave me an opportunity to talk to people about my work. It also gave me an opportunity to hear how people felt about and thought of my work. My customers were my biggest supporters. They told me exactly what they liked and did not like. I got a lot of positive responses in terms of representing Baltimore, MD. Community

Operating studios in Baltimore City was especially important. I worked in predominantly Black neighborhoods. It was important that you saw Black businesses in our neighborhoods, allowing Black children to see what they could do. When I grew up, I remembered the corner store being owned by a Black family. It was so comfortable going there and seeing our people. Who knew somewhere in that experience that it was stirring up entrepreneurship in me to have a business that my folk could relate to.

CELEBRITIES

Occasionally, I would receive a request for custom design t-shirts. One of those opportunities was designing a t-shirt for Toni Braxton. It was a picture of her face done in my signature style. She loved it! She sent me a thank you note on a photograph of her wearing the t-shirt. It was one of many highlights in my career, but it also gave me a new idea to pursue.

As I watched some of the black sitcoms like “A Different World” and “The Cosbys”, I would look at the clothing worn by the actors and artwork displayed on the walls. I would always see reminders of myself throughout the shows. I saw many of my “mentors” artwork. The walls displayed the work of Larry Poncho Brown, Charles Bibbs, Synthia Saint James, Lerory Campbell and a host of others.

One night while watching Roc and I found myself looking at the credits to see who the designers were. I reached out to the wardrobe designer and sent the show some t-shirts. I did a Bustertizin in Baltimore design. Charles Dutton, who played Roc, was from Baltimore. When the shirts were received, they emailed me and said they liked the shirts, but I would have to sign a waiver and agree that they had the right to place them in a scene with the understanding that I would not receive any payment. Once the waiver was signed, I continued to watch each show with the hopes of seeing my shirt on TV. Then it happened, Roc wore my t-shirt. Man, I was over the moon! I was “tickled pink” that my shirt was on a nationally televised show and now reaching a much bigger audience.

The viewership for Roc was enormous and the exposure was overwhelming. I started receiving calls from everybody, “Buster I saw your shirt, Buster I saw your shirt.” I was like, “I am really feeling this.”

It took things to another level. So, I continued to look for wardrobe designers and was able to get my images on additional TV shows like “Uptown Comedy Club” and the Fly Girls on “In Living Color”. I was able to promote my brand without having to be in twenty-seven places at the same time and it was absolutely free. When I sit back and think about it, I was able to move my product across multiple platforms with the least amount of effort to achieve the maximum return. This was an exciting time for me, dealing with television and advertising through brand placement.

I sit back and think of the many celebrities I crossed paths with over the years while exhibiting, that now have my t-shirts such as: Jada Pinkett Smith, Danny Glover, Queen Latifah, Denzel Washington, and Tony Braxton to name a few.

I remember meeting t-shirt designer Rod Jones at Mondawmin Mall in Baltimore, MD. Rod had a very prominent tee shirt line throughout the country. I followed his career and spoke to him regarding his thoughts on my work. Rod told me that he did not think my line would sell. In that conversation…all I heard was “you have a very good thing here!” I didn’t see Rod’s statement as negative but more as a challenge for me to press harder. I was on to something. I still looked up to Rod and continued to follow and admire his career. You never know where inspiration comes from. Rest In Paradise Rod.

MENTORSHIP

I receive so many teachable moments. One that stands out is “4 pieces of tape.” I was at Ponchos’ studio wrapping artwork with bubble wrap for a road trip. I think I’m protecting the piece by really taping each frame all the way around in its entirety. Poncho said, “Undo that!” I try and then ultimately rip up all the bubble wrap around it. He said if you only use “4 pieces of tape to wrap ‘’…well it will only take “4 pieces of tape” to unwrap it. This was just another jewel given to me.

I was able to receive mentorship from some of the greats. Poncho and I traveled all over the county, not only exhibiting but also hanging out with other artists. I was able to stay at the home of Charles and Elaine Bibbs. The conversation Charles had with me about my technique was invaluable. Charles spoke of flooding household collectors with my work. He spoke of the power of distribution. I was very humbled by the whispers Charles would give me throughout my entire visit. I understood even more the influence he had on my other mentor, Poncho.

Spending time at Maurice Evans and Grace Kisa home was another empowering moment. Both talked to me about my direction in my work. Maurice challenged me to stretch out into trying other created techniques like etching. Grace talked to me about being a female in this male dominated art world and being able to maneuver powerfully throughout it.

We drove to Alabama and spent time with Deborah Shedrick. Deborah would explain the power and strength it took to maintain her independence, while being one of the few women in the artists circuit in the 1980’s. Deborah would listen to create frustrations and encourage me to keep cutting until I get through it.

Another influence for me was Phyllis Stephens. Phyllis embraced me as a little sister, and we’d sit and talk to the wee hours of the morning about my spiritual journey.

We collaborated on a 6 foot quilt. Phyllis opened my eyes to other aspects of creating work. Phyllis traveled and hit the pavement hard in 1980’s as a female pioneer. Phyllis told me “Done correctly” my work career will speak and maintain itself. I didn’t totally understand it then, but realized creating strong designs will remain front and center.

I met Synthia Saint James while in Los Angeles, California at the Baldwin Hills Crenshaw Mall Art Exhibition. I knew of her work and admired how powerfully she put colors together. As time went on, I talked to Synthia about my monochromatic detailed technique of creating. I asked about collaborating on a piece with her. She agreed and started it, but I did not follow through with my part in a timely manner. As a result, she decided to table it. I regret my procrastination because it caused me to miss out on the opportunity to publish a collaborative piece with this amazing artist.

While in Los Angeles, I also met Annie F. Lee and she talked to me about the “faceless features” on the images of people in her work. Annie spoke of how she always wanted a person to imagine themselves or whoever in that face. I realize how my images had no facial features, but it was to keep “non-binary” influences in my artwork.

I was honored to be the only female invited to reproduce several of Annie’s signature female images in a project created by her grandson, Abe IIo Sr of Umoja Fine Arts. Abe IIo Sr wanted to recreate Annie’s “One Woman eight Gents” exhibit. He had several artists recreate Annie F. Lee’s images in their own styles. I was amongst such distinguished B.A.M. (Black Arts

Masters) artists as LaShun Beal, Larry Poncho Brown, Ed Dwight, Paul Goodnight, Tim Hinton, Melvin King, and Burl Washington.

FUNNY (road trip) 2000-2010

Road trips with Poncho were always adventurous. We were driving back from Atlanta, Georgia about 2:00 am in the morning. We were on Interstate 85 and got pulled over by the State Police. Well, I mistakenly dropped my phone by my feet…reached down to pick it up as the officers were walking up on both sides of his cargo van. Back then I was naive and oblivious to “Driving While Black.”

As I reached down, Poncho yelled “Sit the hell up Karen!” The angles were definitely protecting us. We left with a warning.

ON THE ROAD

I continued to exhibit as an artist while traveling to exhibitions. Poncho and I would drive to shows all over the country. Poncho introduced me and my work to many artists in this tight community. Some of our traveling adventures were in California, Georgia, Louisiana, Nevada, New York, Ohio, Pennsylvania, Texas, Virginia to name a few. I loved our road trips. When we would go to the various art exhibitions, it gave me an opportunity to reconnect with all the different premier artists. Some of the artists I fellowshipped with were Charles Bibbs, Kenneth Gatewood, Charly Palmer, Debora Shedrick, the late Annie F. Lee, Diane Shannon, Andre Thompson, the late Anthony Armstrong , Synthia Saint James, Kevin Wak Williams, Stacey Brown, Phyliss Stephens, LaShaun Beal, Ted Ellis, Grace Kisa, Edwin Lester, Lydell Martin, the late George Nock, the late Ron Witherspoon, Leroy Campbell, Dane Tilman, Maurice Evans, Frank Morrison, Gilbert Young, Sylvia T. Walker, Woodrow Nash and a host of others. It became a reunion of artists, and it was the best time in the world for me. I was able to get as much from my peers, talking to me about my work and about the presentation, digging on the style, and introducing me to other exhibitions that were coming up. I received so many precious jewels whispered one on one to me. I think the greatest compliments that I received about my work are from another artist, because we are all of like minds.

The excitement of traveling from city to city and exhibiting in different places brought creative energy and ideas. Art exhibiting is more than receiving acco-

lades, but more so seeing the reactions that my work evoked in the viewer. This was the most exciting and satisfying part to me.

We traveled from show to show. We did shows because an artist told you “You need to do this exhibition because it is really well attended, and I think your work would fit in”. It was all about the camaraderie in helping each other propel our work as African American artists. It was different saying “African American Artist” because we were Black folks that were stepping into mainstream art shows to expose our work to a different audience.

As an emerging artist, I followed in the footsteps of my predecessors. We picked up that baton and continued the race. I use the track analogy because I ran relays for my high school track team. So, when you yell, stick, you throw your hand back and they pass that baton, and you take off running. So, when another artist would tell you about some things that I needed to do differently or to enhance what is going on, I saw it as them passing me the baton, for me to take it and run with it. Well, I was a sprinter, so I tried to run as fast as possible, and I never looked back.

AFRICA

In 2015, Poncho organized and sponsored a trip to Senegal, West Africa called “Artists to Africa 2”. Poncho had been going back and forth to West Africa and had this idea to take other artists to experience the culture and to be amongst other African artists. It would be the first time I traveled to Africa. It was so exciting to see their creative process and for me to learn their technique. Most importantly, I needed to just purge, regroup, and see a different dynamic than what I was used to seeing in the States.

I had the opportunity to understand that all the things that I thought I needed to create were stripped away. The creativity that came from my African brothers and sisters from the Motherland was unimaginable. I was very fortunate to be there and humbled to understand that this is a gift that we all have received in our own way to share with the world. It could be something as simple as my little stick people and as complex as a total masterpiece.

I did notice more men working with wood, stone, metal, and painting. The women were likely working with tie-dye, sewing, working with fabric, selling apparel and food. The women seemed to be in the background of the production side of the work. That was different for me to see that angle of it. But then again, it was not, because when I stepped into my creative realm, people thought Buster was a male running the show.

While in Senegal, we traveled to the coast of Dakar to Goree Island. Goree Island is where the slaves passed through via the “Door of No Return”. As I entered the House of Slaves, I felt the presence of my ancestors. The House of Slaves acted as a stopover where enslaved Africans would be purchased, processed, and shipped to the United States. There was a sense of humility that came over me. I immediately felt the tortured souls when walking into the slave quarters and imagined what it meant to be captured.

I felt empowered to create my work with a different spiritual thought process. We traveled to the African Renaissance Monument, a 171 foot bronze statue located on one of the twin hills. I had never seen such a beautiful structure. We were invited to go inside the sculpture to the very top overlooking Dakar. I inhaled the view and exhaled the beauty of the country. Upon my return to Maryland, I created several

pieces inspired from my trip to Africa. The first five were, Baobab Tree, Six Yards, Senegal Woman #1, #2, and #3.

ART THERAPY

In 2018 I started instructing art therapy classes. I wanted to reach a community of people with different adversities in life. I would have the students paint on a blank white mask, divided in half with a straight line down the middle of the face. One half of the mask they would paint the feeling of disappointment and on the other the feeling of joy. It was a 2 hour session, with the first 90 minutes painting in silence. I would play smooth jazz in the background. All cell phones were silenced, and no talking allowed. I wanted them to feel what it was like to totally submit to the feeling of creating. I waited and watched each person totally submit to their emotions. The hardest part for them was not being able to talk and to focus totally on their thoughts. I walked around and watched the intensity in the room as each person focused on their process. For the last 30 minutes each person would share the meaning of their creation. The willingness of each student to share their experiences and be vulnerable amongst their peers showed how receptive they were to the process. As each person told their story, I’d look around the room and see tears and joy as they listened to the explanations. This process was also therapeutic for me, knowing that I provided a safe space for each participant to release. The name of the class was called, “Behind the Mask.” We all wear them…the release is to unveil ourselves.

SEXUALITY

I have always been questioned about my images as to whether they are men or women. I would always say “it is art, it is up to you to decide who you want that person to be”. Recently I had an epiphany, that unconsciously, I have always created my “little people” to be genderless. My genderless little people were my subconscious way of “coming out” to myself.

Presenting myself as an openly gay artist was not deliberate or easy. I have always seen just how homophobic some of my peers would be. I grew more comfortable and accepting of my own sexuality.

I met my soulmate, Tracey Connor in Provincetown Massachusetts. We were both on separate vacations with friends. I had no idea that she would complete me. We are equally yoked. Tracey is also cre-

ative as a photographer and graphic designer. Tracey embraced all my “artist quirks.” I can be myself and be loved unconditionally. It allows me to keep a clear mind and “keep on keeping on.” Tracey supports me in all aspects of my artist life. She travels and physically helps to set up and break down exhibits, but her real gift is in sales. Tracey can speak my language and explain my passion introducing prospective collectors to my creations. Having her on my journey has made this so much more comfortable and secure. We’ve been married seven years now.

Her love, encouragement, and support are an integral part of my creative process and inspiration. I am glad that I can freely share that aspect of my life. It has opened my mind to new creative ideas, and it is reflected in my work. Living and loving honestly and openly has positioned me to create art that represents a different community of collectors. I realized that my art is not only my voice, but it is an important voice in the fight for diversity, equity, and inclusion. This gives me a sense of happiness and pride. This point in my life is the most liberated that I have ever been. I am at peace and proud of who I am.’

NEW STUDIO

In 2015, my wife and I opened my fifth studio in our home. The whole lower level is my studio space. It is one of the most creative spaces that I can ever imagine. I sit in my studio for hours at a time and look at all the work that surrounds me, studying each piece. I have so much peace, more peace of mind being in this present studio than any of my others, which is really a good thing creatively. I took my time with the placement of all my artwork. It has opened doors for me to do so many other things in this creative space. My cocoon.

I want the experience to be transformative; when you walk into my space feeling one way but walk out feeling different, it does not necessarily mean that the experience just transformed you, but it may transform me by receiving positive energy from your response to my art.

I see my space as a web. When you walk into that web, you are captured by what is going on around you. I translated that concept for my studio into my life. When you have a conversation with me, it is important that something comes out of my mouth that captures you. You too can easily enlighten me with the

way my work makes you feel. My definition of art is just an exchange of ideas, thoughts, and feelings.

DYSLEXIA

Being diagnosed with Dyslexia as an adult, I learned that having peace of mind and calmness are especially important and that my current studio space provides that for me. Accepting Dyslexia gave me answers to so many questions that I had my entire life. Growing up I often wondered why I did not see, or function as “normal” people did. Why am I not able to let a book keep my attention? Why did I draw all my notes, opposed to writing my notes while in school? I found it was just easier for me to see it drawn, than written down.

Something as simple as running a credit card was a challenge. I would enter the numbers, and I would always miss one. I just learned how to live with it and make changes in my life to make it easier for me to continue to function.

Learning that I am Dyslexic was such a relief for me. As an artist, it gave me the answers that I needed, and it helped me understand my creative process. It also helped me learn how to work through the times

when I have creative blocks. Before my diagnosis, those were deep soul wrenching fights. Now I embrace my Dyslexia. I have learned from it. I learned how to cope with it. It has become a part of my creative process. When I am looking at my pieces and I take all those circles and squares apart, I can see how things move. It just helps me understand how things move in my mind and helps me to produce my art. I have embraced that Dyslexia was never a bad thing, it is a condition that is a part of me and an integral part of my work.

STEEL AND COPPER

In 2019, I was looking at my pieces and one of the things that I have always wanted to be able to do was to see my pieces upright. I wanted to see them, moving, and walking around. I did not want flat matter just on a wall. It took me back to my childhood of seeing my little people run all over the place. Even though they were on flat matter, they were always moving. So, I asked myself “How can I make my flat matter come into play now and bring it to life?” Poncho suggested that I step out of my comfort zone and work in another medium. He said there was no limit as to how big these pieces could become. I needed to “enlarge my territory”. I then began to just look at my surrounding sculpture gardens and imagine my pieces

of those sizes. I paid more attention to steel artwork and to design cuts for my sculptures. I was able to produce several of my pieces as two-foot stainless steel sculptures. Finally, my people now stand up and look at me. It is the best feeling in the world to look around and see the pieces upright.

The largest piece that I have created in my stainless steel is about five and a half feet tall; almost as tall as I am. The evolution of my creative process continues. It is just a matter of where I get on and where I get off. As if it is going around like a Merry-Go-Round. I get on it and get creative, then I step off and breathe for a minute and then jump right back on and see what else I can create.

My next step from working with stainless steel was creating work with copper. I received a piece of copper from my Right-Hand Man, Poncho and he said, “Let me see what you can do with this.” Once again, I wanted to see how I would work outside of my comfort zone. He is always challenging me. I took the copper, and I did what I know best. I started creating images into copper. I brought the copper to life by embossing my patterns into it. I also added a new tool to my arsenal, a metal embossing tool stylus. It gave it flavor by adding a new dimension to my art, the element of touch.

Both the copper and the stainless-steel sculpture pieces are a substantial departure from my printed media. The sky’s the limit in terms of what direction I can go in. Innovative people motivate me. So, I just try to keep myself around innovative people to continue to refresh my way of thinking and breathe new life into my work.

I am really feeling the pieces that now flow from me. Being able to continue to use the patterns while placing them on different materials is revolutionary. I look forward to the opening of other creative portals allowing me to continue to express my skills. By allowing myself to use other mediums, I learned that my creativity continues regardless of the medium and does not compromise my creative integrity and spirit. I feel compelled to keep reinventing the wheel and keep showing that my work is moving differently, showing my artistic growth. Not sure of the best way to put it, but change is always good.

FULL CIRCLE

Everything just becomes cyclical. I remember in the 90’s when I was so excited about having my t-shirts on TV shows. Then in 2021 and 2022 my artwork adorned the sets of two major movies, “Coming to America II” and “Halloween Kills”. So that is that cycle. That is how things just continue to come back around. That Merry-Go-Round that you jump on, and you jump off and you jump back on and do something. You get something from it, and then you jump off and be creative.

2022 produced another level of my creativity, authoring a book about my art career. This will be a legacy of my work covering over 50 years of being creative. I dedicate the entire process and this book to my brother Richard Buster. I always felt like when he transitioned in 2017 that I had lost him forever, but I never stopped feeling his presence. I always feel him, as a big brother, continuing to say, “Good job, you are doing a good job.” It is important to know that the work is doing what it is supposed to do.

PANDEMIC

Well, we all know COVID-19 came into play, and it resulted in many people having to make quite a few changes in their lives. Not being able to exhibit at the festivals and the outdoor things that I used to do, was an adjustment. Also, unable to have in-studio shows and have clients come in, I had to be creative in my approach to selling art during the pandemic. Poncho started selling his art via Facebook Live, he called it Poncho-A-Thon. I followed Poncho’s footsteps on developing a way to sell my work via social media. So, I did the K.Y.B. A-Thon for almost a year. It was an opportunity for people to come into my studio via their computers and purchase my work. It was a successful business model, and I was able to sustain my art career during the pandemic. It also opened my eyes to another way of being able to promote the work without having to leave the studio.

Everything is just a revolving chapter, and you must stay up with it and follow through. You heard me say, if it ain’t broke, don’t fix it; it is just an evolution of how to bring creativity out in so many different forms.

THE YOUTH

I love talking to young people because young people keep you aware of new trends, especially technology. They are showing you how you can reach so many more people leveraging technology, especially social media. Far more effective than compared to the way we had to do it before the internet and social media. So do not sleep on the young people and always keep them in your circle. They can whisper some information in your ears that you can use forever. It can catapult you from the end of the line to the front of the line because you have learned how to work smart.

So, I am thanking the young folks for that information and that knowledge. I constantly harass my nieces and my nephews to tell me how to get through the whole social media thing. It is where we are now and will continue to grow. So, I am going to continue to try to inhale as much information as I can and keep some youth around me to keep things vibrant. It is said “Out of the mouths of babes” so be prepared to hear the truth about your work.

2022 SAFEZONE

I often find myself sitting around in my studio and just looking at all the work that’s around me and it becomes my peace of mind and my safe zone. I think back in terms of my childhood and how art was my safe zone, junior high art was my safe zone, senior high art was my safe zone, and in college art was my safe zone. Today art is still my safe zone. I think every artist finds a way to really go into what’s going on in their work. I can lock myself down within my work and not think about all the things that go on around me. I think as artists, that’s probably one of the most unique talents that we all have. We are able to separate ourselves from the rest of the world. I do that often. I separate myself from the rest of the world. Even with the book that I’m working on right now, with recording and talking about my life, it’s done in my studio. We all have a studio. I call mine my kitchen. It’s the place where I cook up my images. I think that we all have one. We all need one. I embrace the safe zone that I presently have and want to continue to create as much work as possible from this day forward.

Swing Skirt

Hand Cut Rubylith Film 10” x 8”

An Extraordinary Gift

As a kindergarten teacher, I realized early that sometimes I was the first to recognize budding talent in students. I remember one student who never drew plain pictures during art time. His people always had eyes, a nose, and bodies with fully shaped arms and legs, nothing like the stick figures the rest of the children were creating.

Each time, he would add something that impressed me more. I knew there was an artist inside, just working its way out. By the time he left elementary school, he was doing real art and entering all kinds of contests (and winning). I felt so proud that I had made the recommendation to send him to the Gifted And Talented team to find him a place in the arts program.

Little did I know that years later, I would have a similar encounter. While serving as a collegiate advisor to the student chapter of Delta Sigma Theta Sorority, Inc., on the campus of Dillard University— the same chapter where I had become a member of this esteemed sisterhood—it happened again. In 1978, I noticed that one of the pledges could pick up a pen and paper and bring people to life in the most unique form on paper. She also could capture the spirit and energy of a theme and translate it into art. And her art stood out with her bold, unique signature. Karen became our go-to sister for flyers, posters, or anything artistic, and she always delivered work worth framing. With each new work from her, I was mesmerized anew by the skill, grace, and intricate detail—the extraordinary gift—of Karen Buster. I recognized right away that art was her calling. She knew it, too, and never strayed. All I could do was encourage her to follow the call wherever it would lead.

I am so proud that Karen has done just that. She has developed into a celebrated artist of rare talent and international renown. I was blessed to serve as the 24th National President of our sorority, and my gifted sister’s pieces are among my most prized possessions. She recently created two priceless sculptures, “Calling All Deltas” and “Delta Business,” which grace the special spaces of our sisters around the world. Like the women with heads held high in those sculptures, Karen Buster makes me proud. She makes us all proud.

--Cynthia M. A. Butler-McIntyre 24th National President of Delta Sigma Theta, Inc.

Forever Delta Hand Cut Rubylith Film 10” x 8”

1978

The Delta Series

Oh Yes To Be

Hand Cut Rubylith Film 10” x 8”

1978 The Delta Series

Delta Pride

Hand Cut Rubylith Film

19” x 13”

2013 The Delta Series

Hand Cut Rubylith Film

19” x 13” 2013

The Delta Series

Mids Up II

Hand Cut Rubylith Film

19” x 13”

2013

The Delta Series

Pledging Delta Hand Cut Rubylith Film

19” x 13”

2013 The Delta Series

With These Hands, I Serve Lithograph 13” x 19” 2022

Dreaming in Black & White

Karen Y. Buster - Dreaming in Black in white. This is primarily a story about a woman and her art, but additionally it is about how a vision can move through an artist and connect to space, time and place. At an early age Karen Y. Buster became captivated by the interplay between positive and negative space. This seemingly small fascination was activated by her attraction to photography and negatives. The attraction seeped in to her dreams and before long Karen was dreaming in black and white. She actually experienced her dreams in the way one would look at a negative for the lost days of film photography. And thus, the journey began.

A negative is a photographic image that reproduces the bright positions of photographed subjects as dark, and the dark parts as lighted areas. Film negatives are the original source of the photograph. Saving the original negatives will always give you the possibility to replace what has been lost. A silk screen process on the wearable art was the initial step in Karen Buster’s creative journey. Each time she used a mesh to transfer ink to a substrate. She worked in a field of dark in juxtaposition to light, just like an original negative. Traditionally, the process was called screen printing or silkscreen printing because silk was used in

the process. It is also known as serigraphy, and continued that play between light and dark like a photographic negative. Negatives are usually formed on a transparent material, such as plastic or glass. Over time, Karen mastered a unique cutting technique using the blade of a precision knife, and the photographic negative appeared once again in a fresh and innovative arrangement. Images and artwork began to come to life through Buster’s use of a surgeon’s knife as a brush, and a film sheet as a blank canvas. The stark and beautifully contrast of black and white can be seen in her stylized pieces like “Senegal Woman”, “Kibibi”, “Barrack”, “Just Chillin”, Jester Noir, “TuTU”, and “Wynton Remastered, just to name a few.

Karen Y. Buster continues to evolve. Sculpture pieces now reveal her ongoing evolution of dreaming in black and white, and the steel has become the latest blank canvas. Those that would, can see “Butterflies in Steel” and see dancing girls in the piece entitled, “& Lift...& Reach”, because they too, play in the space, time and place that is held by dark and light. The artwork of Karen Y. Buster is quite innovative and captivating. It captures and shares her journey, her contemplations, and her interests.

Kibibi Ajanku, MFA Curator-In-Residence Herbert Bearman Gallery

Double Tyme Hand Cut Rubylith Film

Double Dribble Hand Cut Rubylith Film 10” x 8”

Sexy Sax

Hand Cut Rubylith Film

30” x 15”

2002 The Jazz Series

Six Yards

Hand Cut Rubylith Film

Infantry 1864

Hand Cut Rubylith Film 31” x 20”

Sonny Stint Mixed Media on Wood

20” x 20” 2009

Soweto Blues

Mixed Media Assemblage

30” x 15”

2010

The N’awlins Necties

A Summer Afternoon With You

Mixed Media Assemblage

30” x 15”

2010

The N’awlins Necties

2010

title correct?

2010

Druming Jazz Cocktail Mixed Media Assemblage 30” x 15”

The N’awlins Necties

All Keyed Up Mixed Media Assemblage 30” x 15”

The N’awlins Necties

Keyboard Harmony Mixed Media Assemblage 30” x 15”

2010 The N’awlins Necties

25.Miles Repeated Mixed Media Assemblage 30” x 15”

2010 The N’awlins Necties

Sonata N G Minor Mixed Media Assemblage 30” x 15”

Trio In White Mixed Media Assemblage 20” x 30”

2010 The N’awlins Necties

2010

N’awlins Trio Twice Mixed Media Assemblage 20” x 30”

The N’awlins Necties

Maze II

Hand Cut Rubylith Film 24” x 20”

N’walins in Black & White Hand Cut Rubylith Film

Armstrong Hand Cut Rubylith Film 24” x 20”

Senegal Woman #1

Hand Cut Rubylith Film 24” x 20” 2011

Senegal Woman #2 Hand Cut Rubylith Film 24” x 20”

Senegal Woman #3

Hand Cut Rubylith Film 24” x 20”

Spelling Incorrect?

Shedrick & Me

Hand Cut Rubylith Film 24” x 36”

Tu-Tu

Hand Cut Rubylith Film

24” x 36” 2014

Marsalis III

Hand Cut Rubylith Film

24” x 36”

2014 The Jazz Serie

Jabari Soul

Hand Cut Rubylith Film

Oscar Pettiford

Hand Cut Rubylith Film 24” x 20”

2018 The Jazz Series

Gye Nyame Twice Hand Cut Rubylith Film

18” x 24” 2018

Mask III

Hand Cut Rubylith Film

18” x 24”

2018

Earthen Queen Hand Cut Rubylith Film 24” x 36” 2019

Gambia Hand Cut Rubylith Film

24” x 18”

2020

Legacy II

Hand Cut Rubylith Film

24” x 20” 2020

B.B King

Hand Cut Rubylith Film

18” x 24”

2020

The Jazz Series

Bikers III

Hand Cut Rubylith Film

18” x 24”

The Eye Photographer

Hand Cut Rubylith Film

16” x 20” 2021

Pointe X’s 3

Hand Cut Rubylith Film 18” x 24”

Praise Him Again Hand Cut Rubylith Film 24” x 20”

Praise Jump

Hand Cut Rubylith Film

Concert Master Hand Cut Rubylith Film 24” x 20”

2021 The Jazz Series

My Vanessa Hand Cut Rubylith Film

20” x 24”

2022

Duck Walk Lithograph 19” x 13” 2022

Delta Business Stainless Steel 24” x 6”x 6” 2018 Sculpture

Calling All Deltas Stainless Steel

24” x 6”x 6”

2018

Sculpture

Strut On Brothers Stainless Steel 24” x 18”x 6”

2019 Sculpture

Seventh Position Copper Repousse’

20” x 20”

2021

Daisies Copper Repousse’ 12” x 9”

Jazz Trio

Copper Repousse’ 20” x 20” 2021

Senegal Mask I Copper Repousse’

18” x 12” 2021

Senegal Mask II

Copper Repousse’

18” x 12”

Upward Bass Copper Repousse’

12” x 8” 2021

Gye Nyame Stainless Steel 24” x 19”x 6”

2021 Sculpture

Biography

Karen Y. Buster, is a native of Baltimore, MD. She started her first business “Bustertizin” at the age of 18, as a t-shirt designer while attending Dillard University in New Orleans, LA, where she received her Bachelor of Arts degree in Business Administration in 1981. Karen is also a proud member of Delta Sigma Theta Sorority, Incorporated since 1978.

After fifteen years of designing and printing t-shirts, Karen transitioned to fine art through the urging of her fellow artist, friend, and mentor Larry Poncho Brown. Karen created and sold works during “The Golden Age of African Art” between 19852000. This period made art accessible to the masses through direct participation in community art exhibits and cultural festivals. As a result, Karen’s artwork has been nationally feature in ”Images Magazine” and prominently featured on several TV shows including “In Living Color, “Roc”, and ‘Uptown Comedy Club”. Of recent, her work was featured in the movies “Coming To America II” and “Halloween Kills”. Her work is also included in the private collections of several prominent celebrities to include Toni Braxton, Will Downing, the late Aretha Franklin, Queen Latifah, Sheryle Lee Ralph, Jada Pickett Smith, and Avery Sunshine.

Karen is the recipient of Baltimore’s own 2014 “Unsung” art exhibition “Female Artist of the Year”, The 2007 National Coalition of 100 Black Women’s

Art and Culture award, and the 2002 recipient of the Black Heritage Visual Arts Association’s, “Favorite Emerging Artist”. Karen is the first female featured artist of three national level events: Black Heritage Art Show (Baltimore, MD) Capital Jazz Festival (Columbia, MD), and Sankofa Fine Arts Plus (Cleveland, OH). Her “Delta Business” sculpture is prominently displayed in The Delta Sigma Theta Sorority Incorporated National Headquarters in Washington, DC.

Karen artistic contributions extends well beyond her unique artistic renderings her art is also cathartic. She has facilitated several art therapy session throughout the Washington, DC Metropolitan Region.

“In my artwork, you will see a different perspective of how negative and positive spaces interact. Allow your eye to travel the lines and sharp edges drawn by my precision knife which speaks of the development of my style.

“Collectors have describe my work as irregular, eccentric, different, unusual, and unconventional. I will continue to look at everyday images in this unorthodox way. Art has allowed me to speak feelings that I can’t always express with words. I hope I can inspire young people to know that art has a voice.”

“Art is not what I see but what I make others see.”

~ Karen Y. Buster