Slide 1 (2014)
A MEEK BLACK WOMAN sits in front of the camera, speaking to the audience. Nose ring and disheveled hair adorn the MEEK BLACK WOMAN’s face and morning daylight is cast from the right side of the frame. The MEEK BLACK WOMAN’s “obsessional art emerged as much from her episodes of acute depression as observation of the repetitiveness of daily life.”
Slide 2 (2015)
The artist, MEEK BLACK WOMAN, lies on a dressed bed retrieved from another artist’s old dorm room. The glass room is covered with black construction paper with strategic circles cut out for easy viewing inside. MEEK BLACK WOMAN is lit up by the glows of reflective foil and spotlights. “Such works were intended to change viewers perceptions of the MEEK BLACK WOMAN as landscape and provoke them to question the situations in which they normally view art.”
Slide 3 (2015)
A MEEK BLACK WOMAN stands in front of mirror, looking down with sad eyes looking away from the camera. She wears a headdress resembling a large white cloud with string-like rain pouring from underneath. “Such demonstrations suggested that art was not about art only.” MEEK BLACK WOMAN used her MEEK BLACK WOMAN body to provide an “‘alternative ‘ground’ to the ‘page ground’ she had used as a poet; shifting the focus from words to himself as an ‘image’.”
Slide 4 (2014)
MEEK BLACK WOMAN “attempted to conceal her masculinity by burning her body hair, pulling at each breast… It became necessary, for MEEK BLACK WOMAN to make this ‘body poetry’ more public.” No, no. Actually, MEEK BLACK WOMAN looks directly into the camera and appears to be somehow knocking on the lens. She wears a green turtle-neck with a nose ring, face disgruntled the image is contrasted with one of Mitt Romney, Jeopardy segments, and an Amazon review of a white binder. MEEK BLACK WOMAN believed that art was limitless in its application.
Slide 5 (2015)
MEEK BLACK WOMAN “wished to combine the role of active performer and passive spectator in one and the same person. So MEEK BLACK WOMAN introduced mirrors and video equipment which would allow performers to be the spectators of their own actions.” She applies lip gloss nice and slow. There is close- up of her MEEK BLACK WOMAN lips and an image of crystalline New England snow layered on to the image. The video plays nice and slow.
Slide 6 (2013)
A woman wearing a Smith College T-shirt sits in plain view of the camera, head not in view. It is none other than the MEEK BLACK WOMAN alone during lunch time. She sits on a bed, on top of a purple comforter and red and blue spotted sheets. Her back is against a purple satin pillowcase that MEEK BLACK WOMAN’s ex-boyfriend says feel like paper. She slowly eats a turkey and cheese sandwich, picking off the crust. MEEK BLACK WOMAN saw these “ritualistic orgies as an extension of action painting.”
Freda Epum is an artist-writer from Tucson, AZ. She makes work about voicelessness and the black body, as well as explorations of self in relation to place, remembrance, and sorrow. She is currently crafting experimental vignettes of prose and poetry for a memoir about depression. A lover of tea cup pigs, empty coffee shops, and critically unacclaimed movies, she is a creative writing MFA candidate at Miami University in Oxford, Ohio.