Robyn Gibson, Dream Keeper, 2020. Ceramic vessel with black terra sigillata, 11"x 10" x14". Image courtesy of the artist and Untitled Space.

 

Oluwatoyin Salau and I

by Funto Omojola


 

1.

to run in tandem1 through villages that palm and palm and palm have touched
metals against black black black
tender [not callow] calf
performance that can’t ever be gathered

2.

to run towards black black black [charcoal] castle inside Gomorrah

3.

[they tell us: build your own houses and fill them with your own people. give them
ghana-must-go bags and put your own vernacular in their mouths
as if coming home and bringing dirt and coming home and bringing a fist full of spit are the
same; as if we will become clay]

 
 

 
 

1 Oluwatoyin Salau and I both have names that begin with god. were once crows in dreams.
have hands that have pulled tumors out of our bellies; bellies that have carried enough fluid to
become their own gospels. trusted that eledumare could take us where we were going. that
eledumare could take the form of a black man who could take us where we were going.
names the sound flames being lit in lungs make.

 

Published January 2nd, 2022


Funto Omojola is a Nigerian-American writer and artist based in New York. She is the founding editor of ẹwà journal, an online literary journal that publishes work exclusively by immigrant writers, and is an MFA candidate at the Milton Avery Graduate School of the Arts at Bard College.



Robyn Gibson is an emerging visual artist, curator, and poet living and working in Brooklyn, New York. She completed her undergraduate studies at the University of Louisville in 2014, earning a BFA in Painting and a BSBA in Marketing. Since receiving her MFA in 2018 from the New York Academy of Art, Gibson has been developing her multidimensional art practice. In 2020 she completed a seven month residency at the Armory Art Center in West Palm Beach, Florida. After she started boxing in 2016, Gibson began incorporating it into her art practice. Larger-than-life-sized bold, gestural charcoal figures on canvas, a lyrical writing style meant to pack a punch, and voluptuous vessels inspired by her own curves all convey the movement and force important to her work and inspired by her boxing practice. The act of taking up space and claiming ownership of it is important to her work. As a Black artist focused on self-portraiture and the exploration of her trauma, Gibson grapples with Black identity, the depiction, perception and value of Black bodies, and what it means to be authentic. Parallels and Peripheries: Practice and Presence, her first curatorial project was born from the question, “How do we, as people of color, take ownership of our space?” She and curator Larry Ossei-Mensah worked with the New York Academy of Art to put together an exhibition featuring BIPOC members of the Academy community to address this question at the beginning of 2021.