art

Deciding ahead of time to navigate the discomfort

| Sheree

I would say for the last quarter of 2025, I was getting myself into a spin because I wanted to get back to painting but wasn’t.

I was spending my spare time on Pinterest scrolling through all these beautiful artworks wishing I was painting and knowing that when I did, my work was never that good. I’d fail and fall into the comparison trap.

The more I spent on Pinterest the more I longed to be painting but the further away I became from my practice.

Until … as I mentioned in a previous post, I gifted myself the 30 Day Sketchbook Challenge with Insight Creative created by Cheryl Taves.

At day 26 yesterday, and I came to the page late as it was the first day back at school after the Christmas break and girl was I tired. Still am and it was touch and go if I was going to make it to the sketchbook. But I thought to myself if I can get up and do the fucking dishes, then that shift of energy is going to get me into my cave a create.

And so be it. The focus was about risk taking. How we might be okay with it at the beginning of a piece, be loose and alive but to hold this energy to the end of the process, not to overwork things by holding on too tight but maybe take some risks was the challenge.

Using browns was the first risk for me – I’ve probably shared it before how I have a hating relationship with brown. But not so much now. My feelings are softening towards the colour. Practice using browns helps.

And then when I thought I was finishing up with this piece I just stopped. I didn’t carry on to complete or tidy up but left it edgy and raw in a way because I feel it still has a fresh energy and isn’t overworked or tight.

Keeping my sketchbook practice isn’t about making good or bad art pieces. It’s about information. What am I learning as a result of the time spent within my creative sketchbook?

Like yesterday, what have I learnt or better understand about the role risk-taking plays in the creative process? Keeping a creative sketchbook practice isn’t a great, safe space to take risks, explore my style and voice at the same time as really leaning into this place of discovery for me and of me.

I know for a fact that knowing this creative sketchbook is for my eyes only means I’m not performing or looking for feedback or admiration or criticism. It reduces the pressure to make art, formal art-making, good or bad art. It’s play and exploratory feeding my curiosity rather than my ego.

It’s a place where I can be alone in the company of my thoughts and feelings and offer myself kindness and compassion and no judgment at the same time.

I’m glad I said ‘yes’ to myself and my art-making practice. It’s strengthening that muscle of saying ‘yes’ to my art-making rather than ‘no’, more often than not.

The verdict is in about the word of the year, 2026

| Sheree
Damon Davis and Kiki Salem

If you’ve been around here for a few years then you’ll know that I choose a word each year to act as a guiding source for the year ahead.

I hold this word lightly as a beacon to support my movement through the year as I navigate through society, this world, with the ebb and flow of commitments, responsibilities, projects and inspirations. 

Last year, fugitivity took hold of me and kept me refusing those things that have already been refused of me throughout the year. 

Fugitivity and visual journaling went hand in hand in 2025 to the point that I was able to create a loophole of retreat, a space of freedom and play for most of 2025. No doubt fugitivity is changing my life and remains in my rucksack as I traverse into 2026. The year of the horse ( more on that later).

So what is my word of 2026? 

Usually I have something chosen at the back end of Oct moving into November. It just comes to me, lands and takes up root as something that just feels right. And something I want to carry for a year or more and explore.

That didn’t happen this year. 

I had the feeling of being ‘unapologetic’ to the max but that felt, as a word, so dated. I feel it has been co-opted by mainstream and capitalist culture that to hear it now feel so twee for me. It’s original radical power being neutered.

Then we had radicale ( with an ‘e’) meaning to get to the basic root of something. Its natural origin. It’s fundamental and essential, changing from the roots. As well as radical being judged as unconventional, pushing things to the limits.

But again this word didn’t sit well within my gut. I wasn’t feeling it.

For me my word of the year has to be embrewed with feelings as well as be able to stand the test of time, the year and beyond, as well as act as talisman, inspiration and haven. Words of the past has included voice, water, shakti, open, listen, love etc. 

I have a tall ask for my word of the year but none of my words of the year so far has let me down. I suppose it’s a difficult act to follow after fugitivity as this practice has changed my life in so many ways.

But choose a word of the year I will because after so long in this practice, I would feel naked walking into 2026 without some word(s) at my back as support and/both motivator.

I’m making the commitment here now to go with – AfroSurreal – as my words of 2026.

Of course AfroSurreal is much more than a word it’s a whole artist and literary movement which blends the weird and absurd with the reality of blackness. That the reality of blackness, being black today is  surreal. 

AfroSurreal is  also a way of {BEING} that roots me further into the RIGHT NOW. Creating the future that has to happen right now. 

I’ll be exploring more and sharing about AfroSurreal over the next couple of days to get my basis understanding and direction down. And then look out for more posts about how I’m moving and shaking with AfroSurreal(ism) for the coming year.

I’m excited to see where this word will take me. A good sign if any that I’m chosen the right word ( movement) for 2026. 

art-making practice

| Sheree

I develop a stronger sense of myself through my art-making practice. Be that word, image, audio, collage, stitch and projects.

I’m getting stronger in myself through my art-making practice. Be that refusing, choosing, completing, rejecting, leaving and committments.

I develop a stronger trust in myself through my art-making practice. Be that intentions, goals, visions, dreams, rest and hibernations.

I’m getting stronger in risks in myself through my art-making practice. Be that edges, boundaries, messes, mistakes, failures, and breakthroughs.

I develop a stronger sense of myself through my art-making practice.

Be that listening to my needs and wants, and acting accordingly,

leaning towards what brings me joy,

allowing myself to imagine and play,

rather than chase my worth and permission in other people’s acknowledgments and attention.

I develop a stronger self through my art-making practice. be that {BE} that.

Drawing in nature

| Sheree

I’ve been meaning to share this before now.

It’s a process journal I created for my last trip up to Glencoe.

I sat outside Kiwi, all wrapped up in blankets, and just drew what I saw.

It was another way of capturing to memory and heart my favourite mountain – Etive.

I used a graphite chubby pencil and an ink wash and just played.

I filled the whole journal bar two spreads towards the end there.

It was so much fun. I plan to return and do it again.

No mission. No pressure. No product to sell. No expectations.

Just mindless play. More.

Over Here Zine Festival 2025

| Sheree

Today, Dal and I were in Manchester as the Over Here Zine Festival again. I think is out third year there together, sharing a table of our creations and laughing far too loud for such a small room in People’s Museum in Manchester.

It was good to be in a space that was created for people of the global majority to share their zines. It’s usually a safe and supportive space. And it still is in some respects. But what is worrying is that more and more white people are infiltrating our safe spaces. I know that white people come in to see and buy our creations. I can this is who we are selling to, while we swap with each other. But at the same time, I noticed white people behind the curtain, on the wrong side of the tables selling zines. But I could be wrong?

An article I read the other year, titled ‘Ontological Expansiveness’ by Chris Corces-Zimmerman, Devon Thomas, Elizabeth A. Collins and Nolan L. Cabrera, where I learnt the language I needed to call out this sense of expansionof white people into black and brown spaces where maybe the ethos and intention is exclusivity.

Ontological Expansiveness is a theoretical framework used under the umbrella of Critical Whiteness Studies (CWS) that was conceptualized by Sullivan (2006) to describe the complex and nuanced relationships that exist among race, Whiteness, and space. Sullivan (2006) argues, “As ontologically expansive, white people tend to act and think as if all spaces – whether geographical, psychical, linguistic, economic, or otherwise – are or should be available to them to move in and out as they wish” (p. 10).

Corces-Zimmerman, Chris & Thomas, Devon & Collins, Elizabeth. (2021). Ontological Expansiveness. 10.1163/9789004444836_058.

I could be wrong, but how is feels to me, and how I’ve been experiencing things, is that white people think and act and move as if they have a right to be in any and all spaces. Sullivan suggests that White people tend to think of themselves as though they are the only people to exist or have worth in the world. Black and brown people just don’t come into the equation. Colonialism is the epitome of ontological expansiveness.

In this example as the zine festival, I’m talking about taking up physical space, but ontological expansiveness also applies to language and who white people claim ownership, through creating definition of what is proper English for example. What’s acceptable is the language and tone and style of whiteness, any other forms of communications are wrong. Yet that doesn’t stop white people wanting to use Ebonics or use the ‘N’ word. And then there’s the appropriate of our cultural practices .

As Sullivan (2006) states, White people frequently act as if, “The appropriate relationship is one of appropriation: taking land, people, and the fruit of others’ labor and creativity as one’s own” (p. 122). Frequently, instances of White people engaging in acts of cultural appropriation represent a fetishizing and exploitation of the language, customs, or practices
of Communities of Color.

Corces-Zimmerman, Chris & Thomas, Devon & Collins, Elizabeth. (2021). Ontological Expansiveness. 10.1163/9789004444836_058.

Of course white privilege is wrapped up in this but it’s not enough to say this privilege needs to be given up or shared. Before anything changes white people need to acknowledge what they are actually doing, but how are they going to do this if they are oblivious to what they are doing?

I invite white people to recognise that they will feel uncomfortable when they do enter spaces that are predominantly non-white and get used to it. As in that discomfort is the seed of change.

Love Locks

| Sheree

This week saw me on my travels again as I visited Liverpool. I was there to see Of Monsters and Men, and the release of their new album, All is Love and Pain in the Mouse Parade at Jacaranda Baltic. Which was awesome. Intimate and heartfelt.

Before I met up for lunch with my son, I took a walk around Albert Dock and came across the sea barriers full of love locks. Apparently for years, people have come for miles to attach their own lock as a message of unbreakable love. There are some people that think this is an eyesore and that they are damaging the barriers. I say, WTF.

What does it really matter if people want to add to the tradition? What really is the problem? They’re metal barriers there for people’s safety why not add some locks to them as a symbol of love? They don’t weaken the barrier. Probably make them stronger.

Isn’t love supposed to make us stronger? Yes there’s pain and suffering, but a whole heap of joy that comes with it. I’m learning about love at the moment as I read All About Love, by bell hooks, in collaboration with a friend. We read and talk about it. And I’m finding this most useful in developing a new understanding of love. And I suppose I come from the perspiration that I talk about love as the foundation of all that I do/ {BE}. But how can I say this if I don’t really know what love is? Talk is cheap but true understanding and embodiment of love is another story.

And I’m open to learning.

where does your energy go?

| Sheree
i ain’t smiling

i’m protecting my peace so i have the energy for me, to {BE} in service for we, the we that looks/{BE} like me

this is all becoming clearer now

i’m not expending or wasting any more time, energy, attention on those (white) people who do not see me. or when they do see me, they do not see me as human

as Akwugo Emejulu says, the black woman can never be a human being

for decades i’ve spent time, energy, attention, through my practice and day to day life, trying to convince others ( white people) of my humanity. i would bend over backwards trying to get accepted, recognised, cherished as a fellow human being

look, please, i’m human. look, please, i feel, i hurt, i bleed. i breathe

no more. i am no longer prepared to play that role. dance this stupid dance. as i will never be accepted, recognised, loved as a human being. the system won’t allow it. (white) people won’t allow it

i’m no longer wasting my energy on proving jackshit

i’m refusing what has already been refused of me ( fugitivity)

i knowing who i be. i am smart, i am kind, i am important ( The Help). and i don’t need/want/entertain any (white) person to tell/grant/recognise me as such

and i’m no longer apologising/ playing it down or safe/ tempering for how i feel/act/ {BE} about this situation

as that just expends/takes/sucks out of me a whole heap and of other energy

i ain’t smiling.