ARTISTS
Tiona Nekkia McClodden & Karice Mitchell: A Rose Into An Omen
Artists Tiona Nekkia McClodden and Karice Mitchell鈥檚 iconographical interpretations of erotic archives experiment with dominant inscriptions of Black women in visual culture and public discourse, proposing new positioning through ritual, process, storytelling, and material theorization. A Rose Into an Omen conceptualizes the anthropogenic properties of (re)configuration and withholding as mechanisms for navigating the complex terrain of post-colonial identities, architectures of power, and the enduring historical 鈥榯ranslation鈥� and restitution of an archive. The critical duet redresses an economy of flesh and trade, commodified and fetishized imagery, reconstituted as concealed, discreet, and encoded preservations of Black womanhood. Deployed not as liberatory enactments, but as strategy, a site for critique and embrace. An investigative destabilization of legibility and cultural dissemblance, aesthetically severing the tenuous grounds of visual subculture: race, gender, sex, and politics. In this, McClodden鈥檚 NEVER LET ME GO | XXX., 2025, Very, Very Slightly 鈥� [VVS.III], 2023, Very, Very Slightly 鈥� [VVS.V], 2023, NEVER LET ME GO | XX. holder, 2025, BDSM source material, dyed leather, polished, dusted, and framed works, and Karice Mitchell鈥檚 Untitled (reclining nude, leather and chrome), 2025 redacted ephemera, vinyl, etched, and assemblage works obfuscate the Black femme and abstract figure in explicit (venerative) implication. How does material inhabit or possess archetypes of eroticism beyond representational politics? How might the synthesis of Black, Queer formal and complex aesthetic technologies create a metamorphosis of interpretation?
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Artists Tiona Nekkia McClodden and Karice Mitchell鈥檚 iconographical interpretations of erotic archives experiment with dominant inscriptions of Black women in visual culture and public discourse, proposing new positioning through ritual, process, storytelling, and material theorization. A Rose Into an Omen conceptualizes the anthropogenic properties of (re)configuration and withholding as mechanisms for navigating the complex terrain of post-colonial identities, architectures of power, and the enduring historical 鈥榯ranslation鈥� and restitution of an archive. The critical duet redresses an economy of flesh and trade, commodified and fetishized imagery, reconstituted as concealed, discreet, and encoded preservations of Black womanhood. Deployed not as liberatory enactments, but as strategy, a site for critique and embrace. An investigative destabilization of legibility and cultural dissemblance, aesthetically severing the tenuous grounds of visual subculture: race, gender, sex, and politics. In this, McClodden鈥檚 NEVER LET ME GO | XXX., 2025, Very, Very Slightly 鈥� [VVS.III], 2023, Very, Very Slightly 鈥� [VVS.V], 2023, NEVER LET ME GO | XX. holder, 2025, BDSM source material, dyed leather, polished, dusted, and framed works, and Karice Mitchell鈥檚 Untitled (reclining nude, leather and chrome), 2025 redacted ephemera, vinyl, etched, and assemblage works obfuscate the Black femme and abstract figure in explicit (venerative) implication. How does material inhabit or possess archetypes of eroticism beyond representational politics? How might the synthesis of Black, Queer formal and complex aesthetic technologies create a metamorphosis of interpretation?
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