Ode to my Umi

Curators Statement:

From the hands of each mother, I learned, and at the table of each grandmother, I ate. They wrapped around me like a quilt. Covered by their ancestral light. In their warmth, I was taught what it meant to be Black, Woman, and now, Mother, in this world.

Inspired by the matriarchal thread in black culture and the song “UMI Says” by Hip Hop Artist Mos Deff, Ode to My Umi is an exhibit that pays homage to Black Mothers, Grandmothers, and Ancestors. Generationally, I’ve witnessed the women of my family, and other Black women continue to create the language, space, seating, and representation needed for Black folks’ cultural

and intergenerational resilience, as you are invited to sit amongst the work curated in Ode to My Umi. 

There are a few things I want to uplift for you to notice:  I divided the space into three sections: Mother, Ancestor, and Grandmother. I began to place my artist and their work into each section. Precious Wallace’s work resembled the boldness, vibrancy, power, layers, and queendom. I’ve seen it in Black MOTHERS highlighting her work “My Them” visually there are seven women, one crowned and the others aligning. Mothering is like being baptized into a secret society. Despite you giving birth or raising children, there is a transformation that takes place not only within you but socially, as well.

The thread of flower girl purple spills out of the Mother section of the exhibit, carried through to represent the thread of Mothering throughout. Anchoring the center of the space we have ANCESTOR hand painted on the wall by artist Bayou with his mirrors representing portals and reflection. To see oneself in the mirror is to see your ancestors. In conversation with Bayou’s

work, I placed an American sonnet by Donte Collins titled “Love Poem: Nocturn” activating the space with language. This was particularly important to me as a curator for this exhibit because of the gift of putting words to our experience, which was given through many writers, authors, and poets to name some of my influences: Octavia E. Butler, bell hooks, Audre Lorde,

Kimberle Crenshaw and Tricia Hersey, founder of the nap ministry. The ancestral chair holds the storytelling necessary for passing down the language. We hear actor and performer Ashe Jaafura’s voice in the sound dome activating the poem.

Moving into the section of GRANDMOTHER, you are invited through the handcrafted UMI mobile created by artist Namir Fearce. I’ve seen a thread of endless wisdom in Namir’s work. Namir’s work is visceral through multimedia, upholding the foresight of reimaging home in his photos and uplifting the kinship in his “My Baby” video projection. Namir holds the thread of Kinship in his work. It was important for me to start the exhibit with Namir’s work, as it represents the hedge of protection for all the Exhibit.

There are places intentionally set for you to check in with yourself, and fully take in the work in which you are surrounded. There are photos of our Black Mothers, Grandmothers, and Ancestors. I honor them in everything I do and lean on their resilience.

“I am not just a lesbian. I am not just a poet. I am not just a mother. Honor the complexity of your vision and yourselves.” - Audre Lorde.

To All Black Mothers, Grandmothers, and Ancestors - I’ve prepared this space for you. Go, find your seat and rest.

Your Curator,
Eshay Brantley

Opening Reception:
Friday, January 3rd, 2025  
Community Gathering- Join us for refreshments and to meet the curator. 
7pm- 8:30pm 

Artist Talk:
Thursday, January 16th, 2025 
Umi, Remembrance and Legacy 
Artist Talk with Donte Collins & Curator Eshay Brantley
7:30 - 8:30pm

Storytime for Youth:
Saturday, January 18th, 2025
Families are welcomed to bring their children for Storytime with Ode to My Umi Curator Eshay Brantley
3pm-4:30pm

Gallery Hours:
Thursday, Friday, Saturday, 12:00 – 6:00 pm and by appointment

Curated by 2023-24 Emerging Curators Institute Fellow Eshay Brantley and "Ode to My Umi is additionally funded with support through Emerging Curators Institute, made possible in part by the voters of Minnesota through a grant from the Metropolitan Regional Arts Council, thanks to a legislative appropriation from the arts and cultural heritage fund.