If the moon were full
I'd be howling inside
It only hurts
In matters of the heart (Tracy Chapman)
Viewers often want artwork to simply be pretty or serve as a decoration for the turquoise blue wall in their salon. With my works, I choose to observe, narrate, pay homage to, rage, and praise those moments that impact my mind and heart!
By nature, I am a storyteller born into a family of “word wizards.” Nurtured by Southern U.S euphemisms and shared folklore, this upbringing has inspired many of my works as narrative tales that explore and give testimony to people of the African Diaspora. I have lived and worked in Senegal, Nigeria, the UAE, and the Marshall Islands. With each nation, I witnessed shared experiences and philosophies among cultures. These are the stories found in my work that I want to share.
Please join me
I'd be howling inside
It only hurts
In matters of the heart (Tracy Chapman)
Viewers often want artwork to simply be pretty or serve as a decoration for the turquoise blue wall in their salon. With my works, I choose to observe, narrate, pay homage to, rage, and praise those moments that impact my mind and heart!
By nature, I am a storyteller born into a family of “word wizards.” Nurtured by Southern U.S euphemisms and shared folklore, this upbringing has inspired many of my works as narrative tales that explore and give testimony to people of the African Diaspora. I have lived and worked in Senegal, Nigeria, the UAE, and the Marshall Islands. With each nation, I witnessed shared experiences and philosophies among cultures. These are the stories found in my work that I want to share.
Please join me
The Contemporary Art Modern Project / October 17-December 20, 2025
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"Poochie's Okay, But What About Big Mama"
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The Contemporary Art Modern Project (CAMP Gallery) invited fiber artists to submit proposals for the 7th edition of their annual exhibition, Women Pulling at The Threads of Social Discourse: Don’t be Absurd, The exhibition explores absurdism, referencing Franz Kafka, Albert Camus, Simone de Beauvoir, Jose Saramago, and/or Samuel Beckett. Artists were asked to first submit a proposal, detailing how their piece complements the chosen text, with an accompanying sketch and/or render.
My proposal for the Don’t be Absurd exhibit draws inspiration from The Stranger by Albert Camus and the new series I am working on titled "Speak to Me of Generational Wealth." This series is related to my personal observations on contemporary views of "generational wealth," while The Stranger reflects the theme that life only ends with death and is not that significant.
Camus begins his novel with the main character, Meursault, saying, “Maman died today. Or yesterday, maybe I don’t know. I got a telegram from the home saying: ‘Mother deceased. Funeral tomorrow. Faithfully yours.’ That doesn’t mean anything. Maybe it was yesterday.”
Mersault’s casual and indifferent attitude towards his mother’s death remains consistent as he travels to the ‘old folks home’ to oversee and participate in her final arrangements. Prior to her death, he rarely came to visit his mother. While the other seniors and staff in the ‘old folks home’ are saddened by his mother’s death and focused on arranging her burial, Meursault shows no emotion, planning on a quick turnaround to return home. While the staff are sad and residents are sad, the burial process is routine for them, and the overall theme is that man is born into a life that only ends in death and that life is not that significant.
As a current caregiver for my sister in a nursing home, my "Speak to Me of Generational Wealth” series examines generational wealth that often no longer includes family, traditions, legacy, culture, etc. A recent meme I saw said, ‘Each generation wants to inherit the house but has no time to visit the elders living in the house.” The absurd aspect was born when I traveled to LA this summer and stayed in a residence hotel where about 60% of the guests were traveling with a dog. Labradors, dachshunds, poodles, and more accompanied guests daily, eating and sleeping well. Now I enjoy dogs, but what I did not see were elderly family members accompanying families on their summer vacation.
My work titled, Poochie’s Okay, but What About Big Mama?” explores the absurdity of a society that adorns dogs with the physical and emotional support often not afforded to seniors. I enjoy dogs, and realize there are many instances and ailments where families can not support their elders at home. There are wonderful nursing homes, but as a caregiver, I have witnessed too many elders merely deposited in spaces where death happens with the same level of indifference as witnessed with Mersault in Albert Camus’ Strangers. Sadly, often quality care is related to income. In African American communities, most families have or had a Big Mama. Mama was their birth mother, but Big Mama-often the grandmother, was an “elder queen who ruled the family!”Her home was where you went on Sunday after church and on every holiday. Her house was bountiful with peach cobblers, pound cakes, collard greens, the best macaroni and cheese, and more. Big Mama was often where you went after school and spent most of your summer vacation, but my work still begs you to question, what about Big Mama? Is she equally cared for?
My proposal for the Don’t be Absurd exhibit draws inspiration from The Stranger by Albert Camus and the new series I am working on titled "Speak to Me of Generational Wealth." This series is related to my personal observations on contemporary views of "generational wealth," while The Stranger reflects the theme that life only ends with death and is not that significant.
Camus begins his novel with the main character, Meursault, saying, “Maman died today. Or yesterday, maybe I don’t know. I got a telegram from the home saying: ‘Mother deceased. Funeral tomorrow. Faithfully yours.’ That doesn’t mean anything. Maybe it was yesterday.”
Mersault’s casual and indifferent attitude towards his mother’s death remains consistent as he travels to the ‘old folks home’ to oversee and participate in her final arrangements. Prior to her death, he rarely came to visit his mother. While the other seniors and staff in the ‘old folks home’ are saddened by his mother’s death and focused on arranging her burial, Meursault shows no emotion, planning on a quick turnaround to return home. While the staff are sad and residents are sad, the burial process is routine for them, and the overall theme is that man is born into a life that only ends in death and that life is not that significant.
As a current caregiver for my sister in a nursing home, my "Speak to Me of Generational Wealth” series examines generational wealth that often no longer includes family, traditions, legacy, culture, etc. A recent meme I saw said, ‘Each generation wants to inherit the house but has no time to visit the elders living in the house.” The absurd aspect was born when I traveled to LA this summer and stayed in a residence hotel where about 60% of the guests were traveling with a dog. Labradors, dachshunds, poodles, and more accompanied guests daily, eating and sleeping well. Now I enjoy dogs, but what I did not see were elderly family members accompanying families on their summer vacation.
My work titled, Poochie’s Okay, but What About Big Mama?” explores the absurdity of a society that adorns dogs with the physical and emotional support often not afforded to seniors. I enjoy dogs, and realize there are many instances and ailments where families can not support their elders at home. There are wonderful nursing homes, but as a caregiver, I have witnessed too many elders merely deposited in spaces where death happens with the same level of indifference as witnessed with Mersault in Albert Camus’ Strangers. Sadly, often quality care is related to income. In African American communities, most families have or had a Big Mama. Mama was their birth mother, but Big Mama-often the grandmother, was an “elder queen who ruled the family!”Her home was where you went on Sunday after church and on every holiday. Her house was bountiful with peach cobblers, pound cakes, collard greens, the best macaroni and cheese, and more. Big Mama was often where you went after school and spent most of your summer vacation, but my work still begs you to question, what about Big Mama? Is she equally cared for?
Art Moments: Special thanks to Aditi Patwari for featuring my work in her March newsletter:
"A native of Cincinnati, USA, Franklin has lived and worked abroad in Dakar, Senegal; UAE; Nigeria; and the Marshall Islands. With a BA in Art from Xavier University, Cincinnati, Ohio, and an MFA from Bradley University, Peoria, Illinois, she creates narrative tales that explore, chronicle, and give testimony to people of The Diaspora and their shared experiences and philosophies regarding themselves and other cultures.
In November 2024, Franklin participated in the Croisement exhibition with artists from Senegal, Cameroon, Côte d'Ivoire, etc., at the Daniel Sorano Theater Gallery in Senegal as part of the internationally acclaimed Dakar Biennale OFF Exhibits.
Franklin has received grants from the Kentucky Foundation for Women and the Maryland State Arts Council, to name a few. Past exhibits include the Southampton History Museum, Southampton, New York; Paris Sorbonne University Abu Dhabi; The Art Hub-Abu Dhabi; Musee Boribana, Dakar, Senegal; the Renwick Gallery-Smithsonian Institution, 13th Dak’Art Biennale National Exhibit; and the National Afro-American Museum, Wilberforce, Ohio."
To stay updated on the latest textile news, projects, and opportunities, subscribe to their monthly newsletter here
https://www.dea-dubai.com/.../artist-spotlight-angela...
GETTING TO GROWN: A Diaspora Journey with Angela Franklin and Chevelle Moore Jones
https://bmoreart.com/2025/02/the-weight-of-worlds-angela-franklin-and-chevelle-makeba-moores-getting-to-grown.html
Chez Alpha Books is excited to welcome everyone to the CROISEMENT EXHIBIT at the Daniel Sorano Theater Gallery (Dakar, Senegal) from November 12- December 12, 2024, as part of the DakArt OFF Exhibitions. The Daniel Sorano Theater was inaugurated on July 17, 1965, by President Léopold Sédar Senghor and is a hub of music and culture in the country.
Along with seven other multi-talented international artists, Angela Franklin has six of her works featured in the exhibit with themes that juxtapose the people, histories, customs, traditions, and languages found in the diverse countries where she has lived and worked.
"Prelude to JELMA - A Showcase of Finished and In-Progress Works" by
Artist, Angela Franklin in Dakar, Senegal / June 12-29, 2024
Angela Franklin is a natural storyteller. Her narrative works - a combination of textiles, acrylics, and found objects are often rooted in social justice and reflect several personal and universal themes including grief, migration, global apathy, and identity. "Prelude to JELMA - A Showcase of Finished and In-Progress Works" representing works in progress for a two-person exhibit in January 2025 at the James E. Lewis Museum, Morgan State University (HBCU-Historically Black Colleges and Universities) is on view at Chez Alpha Books in Dakar, Senegal from Jun 12-June 29, 2024.
A native of Cincinnati, Ohio Franklin has lived and worked in the UAE, Marshall Islands, Nigeria, and Senegal. The influences of these experiences are found in the color, design, and themes in many of her works. Because of these experiences, water is a constant theme in her work from the mighty Ohio River to the Atlantic and Pacific Oceans. In addition to culture and symbols, she admits to being inspired by the words of Lucille Clifton, James Baldwin, Warsan Shire, Khalil Gibran, and Haunani-Kay Trask.
Witnessing first-hand the massive number of young men and some women making the dangerous journey by boats to Europe along with the demand for West African resources not including the people has inspired several works including "They Came for the Fish, but Not for Me," "Turning Back the Boats Cause Home Called You and Death Gave a Warning," and "A Cock Crows, A Mother Mourns While the Ocean Claims Her Young."
Continue reading: https://docs.google.com/document/d/15Ntj5TOuhsnh5vZls47kNQ7ca_t1qwuOrx6lYn5oq7s/edit?usp=sharing
A native of Cincinnati, Ohio Franklin has lived and worked in the UAE, Marshall Islands, Nigeria, and Senegal. The influences of these experiences are found in the color, design, and themes in many of her works. Because of these experiences, water is a constant theme in her work from the mighty Ohio River to the Atlantic and Pacific Oceans. In addition to culture and symbols, she admits to being inspired by the words of Lucille Clifton, James Baldwin, Warsan Shire, Khalil Gibran, and Haunani-Kay Trask.
Witnessing first-hand the massive number of young men and some women making the dangerous journey by boats to Europe along with the demand for West African resources not including the people has inspired several works including "They Came for the Fish, but Not for Me," "Turning Back the Boats Cause Home Called You and Death Gave a Warning," and "A Cock Crows, A Mother Mourns While the Ocean Claims Her Young."
Continue reading: https://docs.google.com/document/d/15Ntj5TOuhsnh5vZls47kNQ7ca_t1qwuOrx6lYn5oq7s/edit?usp=sharing
Message received from SEWN Magazine: "We'd like to formally let you know that your work will be featured in the June 2024 issue of Sewn Magazine! We want to thank you for your creativity and participation. Our readers will enjoy this issue.
Each issue of SEWN is a treasure trove. Here you discover the stories of renowned creators and hidden gems in the making world, equally talented and inspiring. SEWN Magazine is your gateway to exploring diverse skill sets and experiences, offering makers of all levels the chance to shine and share their unique vision with our readers.
https://drive.google.com/file/d/1WmRAx-DZqwGMenUjYUN9Fz-aVlkZAOL3/view
Each issue of SEWN is a treasure trove. Here you discover the stories of renowned creators and hidden gems in the making world, equally talented and inspiring. SEWN Magazine is your gateway to exploring diverse skill sets and experiences, offering makers of all levels the chance to shine and share their unique vision with our readers.
https://drive.google.com/file/d/1WmRAx-DZqwGMenUjYUN9Fz-aVlkZAOL3/view
Art Work by Artist Angela Franklin Commissioned by Acres of Ancestry
Cincinnati native, artist Angela Franklin recently completed the first of three textile/ mixed media works commissioned by for Acres of Ancestry - a multidisciplinary, cooperative ecosystem rooted in Black ecocultural traditions and textile arts to regenerate custodial landownership, ecological stewardship, and food and fiber economies in the South.
Titled - Deaconess of Defense - For the Land and the People ( 45" x 65" x 3/4") this is the first of three works that take as their theme the importance of equity in land ownership and a history of resistance and defense often needed to achieve this goal.
In her artist statement Franklin says, "In 2020, while cleaning out my parent's home, I found a 1940s Remington shotgun, two pistols, a BB gun, and many bags of bullets! The guns and bullets of varying sizes were tucked away in different locations in the house. I had always known that there was often a shotgun kept behind the kitchen door yet the collection of guns made me think...
Continue reading: https://bit.ly/3SDnmh0
HEARTS OF LIBERATION: A Celebration of Radical Black Love as Collective Care
"CAUSE THE BUS WAS TOO YELLOW" is the first in the Then You Read series inspired by James Baldwin who said, "You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was books that taught me that the things that tormented me most were the very things that connected me with all the people who were alive, who had ever been alive.” This work pays homage to noted civil rights activist Fannie Lou Hammer, an authentic voice of Mississippi, the struggle of black people in Mississippi, and her fight for collaborative economics.
In 1969, she founded Freedom Farm (an agricultural cooperative) and purchased 40 acres of rich Delta land with donated money. Her vision was to provide sharecroppers with their own piece of land. The organization also brought 35 female pigs and 5 boars. Within a few years, thousands of new pigs were born and shared with poor families. Fannie was committed to offering a way for local sharecroppers, tenant farmers, and domestic workers to pursue community wellness, self-reliance, and political resistance. I envision that both land and income generated from the pigs also allowed the farmers to create homes. For me, Fannie Lou Hammer supported people to live off and within the land.
The title of this work comes from an experience she had on August 31, 1962. She had traveled with others to the courthouse in Indianola, Mississippi to try to register to vote.
After finishing this test, they started on the trip back to Ruleville, Mississippi, and were stopped by a city policeman and a state highway patrolman. They were ordered to get off the bus. After they got off the bus, they were ordered to get back on the bus and told to go back to Indianola. When they got back to Indianola the bus driver was charged with driving a bus the wrong color. They were told the bus was too yellow! Fannie loved and fought for her people. Say her name!
This piece she hangs in the Hearts of Liberation: A Celebration of Radical Black Love as Collective Care at the Kennedy Heights Art Center, Cincinnati, Ohio at the Kennedy Heights Art Center, Cincinnati, Ohio through June, 2024.
In 1969, she founded Freedom Farm (an agricultural cooperative) and purchased 40 acres of rich Delta land with donated money. Her vision was to provide sharecroppers with their own piece of land. The organization also brought 35 female pigs and 5 boars. Within a few years, thousands of new pigs were born and shared with poor families. Fannie was committed to offering a way for local sharecroppers, tenant farmers, and domestic workers to pursue community wellness, self-reliance, and political resistance. I envision that both land and income generated from the pigs also allowed the farmers to create homes. For me, Fannie Lou Hammer supported people to live off and within the land.
The title of this work comes from an experience she had on August 31, 1962. She had traveled with others to the courthouse in Indianola, Mississippi to try to register to vote.
After finishing this test, they started on the trip back to Ruleville, Mississippi, and were stopped by a city policeman and a state highway patrolman. They were ordered to get off the bus. After they got off the bus, they were ordered to get back on the bus and told to go back to Indianola. When they got back to Indianola the bus driver was charged with driving a bus the wrong color. They were told the bus was too yellow! Fannie loved and fought for her people. Say her name!
This piece she hangs in the Hearts of Liberation: A Celebration of Radical Black Love as Collective Care at the Kennedy Heights Art Center, Cincinnati, Ohio at the Kennedy Heights Art Center, Cincinnati, Ohio through June, 2024.
RECLAMATION
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Art Moment: This work is currently on view in the RECLAMATIONS Exhibit at the Southampton History Museum. Titled, "She Held the Land-Knowing the Land Belonged to the Living and the Future." This exhibit seeks to explore the multifaced ways in which artists can engage with the act of reclaiming - be it physical space, historical narratives, personal/family stories, or cultural identity and representations.
https://lnkd.in/gR9P_pRB |
Biography:
With a BA in Art from Xavier University, Cincinnati, Ohio, and her MFA from Bradley University,
Peoria, Illinois, Angela Franklin-Faye has exhibited her works throughout the US and
internationally. A native of Cincinnati, Ohio, she has lived and worked abroad since 1997 in
Senegal, the United Arab Emirates, Nigeria, and the Pacific Island region. This international
experience has resulted in a body of work that celebrates and chronicles The Diaspora
experience globally. Continue reading: bit.ly/3WYGmq6
With a BA in Art from Xavier University, Cincinnati, Ohio, and her MFA from Bradley University,
Peoria, Illinois, Angela Franklin-Faye has exhibited her works throughout the US and
internationally. A native of Cincinnati, Ohio, she has lived and worked abroad since 1997 in
Senegal, the United Arab Emirates, Nigeria, and the Pacific Island region. This international
experience has resulted in a body of work that celebrates and chronicles The Diaspora
experience globally. Continue reading: bit.ly/3WYGmq6
