32 Hours of Negotiation Between the World and Me

32 Hours of Negotiation Between the World and Me

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Quinn Hunter

“This work is an endurance and performance of hours of labor to make visible the work of Black women and the time involved in hair maintenance. In the act of going through the rigorous drawn out labor of making, I mirror the unseen skilled labor of Black women. 

Artificial hair integrations are installed to the body through various methods including crochet. The tools and techniques used in the method of crocheting are also the same tool and techniques used to make latch hook rugs by women in domestic spaces. 

Communities, relationships, and spaces are built around the Black women and their investment of time and money into hair. Hair can suggest the racial, economic, political, sexual. Black hair care is labor intensive. This labor is not optional and is often unseen, but this investment in hair is also an act of agency and presenting of black women. The act of doing hair in combination with agency can allow a re-presentation of the self to the world.“

About Quinn Hunter

Born in and raised in Charlotte North Carolina I studied art and received A BFA from the University of North Carolina at Greensboro in 2016.  My work is about inheritance, not of monetary value but the intangible things that came genetically and ethically from my parents. My race and religion (Southern Baptist) are the biggest influences dictating my viewpoint and place in America’s social economic class. A reality of a culture that idealizes a beauty that is not my own. The romanticism of the “New” antebellum South, a reaching for an idealized Gone with the Wind / Good ol’ Boys, in contrast to the reality of what growing up Black in the southern “Bible Belt” meant, as an outsider. These external factors have led to the way I perceive, actively seek out, question and struggle for reasoning with faith while reflecting on the realities of being a young black female in a culture that sees me as the Other.

Existing within a space that was built by, but not for African-Americans, surrounded by confederate monuments and memorabilia made my coming of age in the south difficult. This feeling of Other is explored through multidisciplinary means of Ceramics, video, and textile.

 Using vessels as vehicles that tell stories through the memorial of ancestry and conversation, that reveal pain and sorrow while holding on to promises, hope, acknowledgement, and recovery.

 Through implications of body and function I intend to start conversations about the experiences of brown bodies moving through white spaces. I want viewers to leave questioning the Otherness that is projected on brown bodies through the acknowledgement of past and present happenings of cultural appropriation, microaggression, and the left behind. I seek to create these moments by focusing on the wake of these happenings and how they are coped with and ultimately healed through Black communities, pop culture, and faith.

 My work is a confrontation, a confession, and a honest open-ended declaration of what has defined the past and present, and what will define the future. Through the endurance of monochromatic experiences by African Americans I am connecting the ideals and sentiments of the past to the present ways in which race, classism, and faith that affects me, as well as all of those coming of age in the “new” South.