KWANI POVI WINDER explores her Santa Clara Pueblo Tewa heritage through painting and draws on her religious beliefs when portraying a native figure. Through her paintings, she seeks to preserve, share, and educate about her unique heritage.
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I’m happily married with wonderful kids and a lot of books. I’m also a member of The Church of Jesus Christ of Latter-day Saints.
My interests include reading (particularly history, social justice, science, tech, publishing, and sf&f), typesetting/bookmaking, design, writing, art, coding, languages (particularly dead ones), genealogy, and geography/cartography.
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https://tshikamba.com/
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The first words of the Book of Mormon situate the primary narrator, Nephi, in the social context of his family. This legacy will have rippling consequences throughout the rest of the book. Olagunju’s beaded artwork is intended as a belief in the divine role of parents and the global need for kind and consistent family.
The intricate beadwork includes a border of patterns found in Yoruba textiles. Both figures wear a dashiki, a colorful garment with embroidered collars found across Africa and the African diaspora. The twelve braids of hair represent the twelve tribes of Israel, an unusual and forceful symbol for a female figure. By interweaving Book of Mormon references and West African cultural symbols, Olagunju makes a beautiful statement about what is intrinsically divine.
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My work uses plant material and soil as a record of personal, cultural, and ecological history. History is not only held in the buildings and monuments, but in the soil itself. I gather this soil and foliage from both cultivated and uncultivated locations for my artwork. Using traditional domestic techniques of drying and canning, I preserve the materials that I have gathered. These will then be sewn together, cooked, and encrusted into objects. Despite my labor of preserving, these organic art supplies are transient. When made into works of art, they can be viewed in their vulnerable state, fighting against time, as they decay.
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PAGE TURNER is an assemblage artist who collects items of deep personal meaning to create delicate sculptural pieces infused with a new feminist aesthetic and a soulful reverence for her heritage. Recently featured in 50 Contemporary Women Artists: Groundbreaking Contemporary Art from 1960 to Now , her work is grounded in the Appalachian region of Virginia. Turner has exhibited widely in Virginia, North Carolina, Tennessee, Washington DC, New York, and Los Angeles. Her recent exhibitions include FemiNest at Equity Gallery in New York, Contemporary Appalachia: Zephren & Page Turner at Artists & Makers Studios in Maryland; and a solo exhibition Power & Restraint: A Feminist Perspective on Mormon Sisterhood at the Eleanor D. Wilson Museum at Hollins University in Roanoke. Turner was the cover artist for Exponent II and Dialogue: A Journal of Mormon Thought. Her sculptures have been featured in Immediate Present, Artemis Journal, Women Speak, About Place Journal, and Young Ravens Literary Review.
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DENISE GASSER {[email protected]} is a fine artist, art facilitator, and mother of four young boys. Her paintings attempt to lift the veil on the appearance of things and reveal a kind of magical order within. Though subject matter varies, her work consistently embodies tension between organic and geometric, order and chaos, reality and dreams. Denise has lived and worked in the Bay Area, Vancouver, BC, and now resides near the mountains of Utah with her husband and children. She can be found on the web at denisegasser.com and on Instagram @denisegasserart
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