Kibibi Ajanku is an artist who creates art that reflects the African Diaspora, a historical and cultural movement of African people worldwide. Her work blends ancient traditions with contemporary art, combining modern fine art and traditional crafts inspired by African villages. Ajanku’s art results from thorough research and explores themes of identity and African heritage. She draws inspiration from ancestral histories and stories that continue to impact our world today. She has also traveled to various parts of the African diaspora, meeting and collaborating with textile masters, greatly influencing her work. Her art tells stories that connect us to our African roots and the diverse cultures of the African diaspora.

Kibibi Ajanku creates art that carries the rich heritage of the African Diaspora. Her artistic journey is a lifelong exploration, blending ancient traditions with contemporary innovation. Her work spans various forms, including contemporary art, performance art, and visual art, all deeply rooted in indigenous customs. Ajanku’s art is a blend of research, identity, and elements that connect to African heritage, aiming to evoke intuitive memories from ancestral histories. She is renowned as the Founder of the Baltimore-based Sankofa Dance Theater, which incorporates elements from the historical Mali Dynasty, bridging the past, present, and future.

Her projects encompass visual and performance art, featuring costumes, historical artifacts, and contemporary pieces that offer audiences an informative and exotic experience. Her work has graced prestigious institutions like the Baltimore Museum of Art, The Walters Art Museum, the Reginald F. Lewis Museum, and more. Kibibi Ajanku’s artistic skills are diverse, spanning sewing, embroidery, beadwork, dye techniques, and clothing fabrication, all acquired through international training and workshops in Africa and beyond. Her passion for art began early, nurtured by her grandmother and seamstress aunts. Ajanku believes that art, when presented thoughtfully, is a powerful tool for fostering intercultural awareness and unity in the global community. She holds an MFA in Curatorial Practice from Maryland Institute College of Art, teaches at Coppin State University, and serves as the Curator for the Frederick Douglass-Isaac Myers Museum.

Aliana Grace Bailey is an interdisciplinary fiber artist based in Baltimore, Maryland, originally from Washington, DC. Her work is not just about art; it’s also a passionate advocacy for radical self-love, wellness, healing, and grief support. Aliana holds a special place in her heart for NC A&T State University, where she earned a double major, obtaining a Bachelor of Social Work and a Bachelor of Art in Visual Arts Media Design. She’s been actively engaged as a socially-conscious teaching artist since 2017, following her completion of the Art for Social Impact fellowship at The Sanctuaries. In 2020, she furthered her education, obtaining an MFA in Community Arts along with a Certificate in the College Teaching of Art from Maryland Institute College of Art. Aliana’s artistic journey includes a range of experiences, such as art residencies in Ghana, Maryland, DC, Virginia, and MASS MoCA in Massachusetts. She also completed an apprenticeship at The Fabric Workshop and Museum in Philadelphia. Aliana is the founder of vibrant grace studio, where she not only creates patterns, products, and designs but also leads art and healing workshops. Her studio is deeply committed to initiatives centered around health, social justice, and wellness, with a strong dedication to promoting the well-being, joy, and liberation of Black communities.

 Aliana Grace Bailey is a fearless interdisciplinary fiber artist, boldly carving out space with her gentle touch. Her art is a powerful journey of self-discovery, celebrating Black womanhood, and honoring the sacred aspects of life. Through her creative expressions, she weaves intricate narratives using vibrant colors and environments, inviting viewers to join her on a path of self-awareness. Aliana’s work speaks with a quiet yet compelling voice, offering a warm and private space rich in details that engage patient observers. It serves as a vessel for preserving stories and the legacies of those she holds dear. Her vulnerability and openness are laid bare, inviting viewers to reflect on their own relationships, self-love, and connections to loved ones. In her art, size and emotion intertwine, with vibrant colors embracing the body and providing a comforting embrace. It explores the depths of familial bonds, memories, and experiences that tug at the heartstrings. Fiber art became a part of Aliana’s journey in 2012, inspired by her beloved grandmother, Ruby. Their close relationship during her grandmother’s final years deepened their connection, and it was during this time that Aliana felt the call to explore her creative freedom and rediscover her childhood interest in textiles. Aliana’s creations are living entities, adapting and evolving in response to their surroundings. Her focus on personal connections, love, spirituality, and healing resonates deeply. Through her work, she weaves layers of interconnection, comfort, and storytelling. Her art beautifully juxtaposes notions of beauty, optimism, and, at times, the harsh realities of life. Aliana Grace Bailey’s creations are a testament to the power of art as a transformative and healing force. 

Aliyah Bonnette is an artist from Silver Spring, Maryland, currently based in Raleigh, North Carolina. She works with different materials, but her main canvas is painted quilts. In her art, she uses bold and abstract shapes in the background and combines them with realistic figures. This combination challenges the cozy feeling associated with quilts and brings attention to some uncomfortable topics in her work. Aliyah’s work mainly focuses on the experiences of Black women in America. She takes inspiration from various aspects of African American history and her life as a Black woman in the United States. Even though she taught herself how to quilt, her bachelor’s degree in painting and textiles has given her the knowledge and space to explore her chosen medium more deeply.

Aliyah Bonnette’s art is influenced by her connection to her late grandmothers and ancestors, whom she calls her ‘Kindred.’ After learning about its historical use in the Underground Railroad, she started quilting three years ago. When she shared her interest with her grandfather, he shared with Aliyah quilts made by her grandmother in the late 1970s while living in Georgia. Aliyah and her mother then found barrels filled with her grandmother’s unfinished quilts and fabrics in Georgia, feeling like a sign of guidance from her grandmothers. Aliyah taught herself an improvisational quilting process to connect with her grandmother and female ancestors. She incorporates the fabrics and unfinished quilts her grandmother touched into her art to weave stories and memories of Black women across generations.

Her art narrates the journey of a Black woman’s self-discovery. Her figures represent herself and the women in her life, telling stories about Blackness, femininity, and sexuality beyond stereotypes and biases. Aliyah’s Kindred, who lived through slavery and Jim Crow, inspired and guided her in creating art while finding her path as a woman. In her work, women are depicted in comfortable settings where they can be their true selves. They are Black women, often partially or fully nude, confidently embracing their bodies and rejecting societal expectations related to race, gender, and sexuality. With the guidance of her Kindred, Aliyah and her figures explore paths toward their authentic selves, imagining who they could have been without the influence of colonization.

Mahari Chabwera was born in the American South, and her artistic journey is deeply rooted in the wisdom traditions of Black women. Her creative exploration delves into the realms of sexuality, femininity, and spirituality. At the heart of Chabwera’s practice lies the art of myth-making. She crafts liberated and imaginative scenes of figures adorned with wings and horns, filled with elemental powers, alongside serpents that serve no master. Through her art, Chabwera paints a decolonized portrait of Black womanhood. Chabwera uses a range of materials, including glass, beads, oil paint, shells, and fabric, to give life to shapeshifters, celestial bodies like suns and moons, fertile landscapes, and cosmic designs. Recognized for her exceptional talent, Mahari Chabwera has been honored with prestigious awards such as The Peale Museum’s 2023 Grit Fund, the Art Matters 2023 Betty Parsons Fellowship, and the Virginia Museum of Fine Arts Professional Fellowship. Her work draws inspiration from womanist principles, and one of her notable contributions is the establishment of the Salt Eaters fellowship in 2020. This fellowship, created in tribute to the legacy of Toni Cade Bambara and her seminal novel, “The Salt Eaters,” provides support for Black women artists in their creative work offering a space for them to rest and experiment with their art practice

Mahari Chabwera is focused on building a framework that celebrates Black femininity, emphasizing its connection to divinity and self-fulfillment. She’s deeply intrigued by the speculative aspects of existence, particularly what it means to be alive, a woman, and Black, echoing the words of Ntozake Shange. Her art consists of tapestry paintings on unstretched canvas, suspended from hand-forged iron hooks designed in the shapes of snakes, leaves, or vulvas. These creations serve as powerful talismans. Chabwera draws inspiration from African diasporic and indigenous mythologies, literature, spiritual practices, and communal care traditions. Her work exists at the intersection of self-mythologizing and mysticism, often featuring figures from her own life and that of her loved ones. Together, they become shapeshifters and alchemists, undergoing self-initiated transformations in harmony with the elements. She also incorporates materials like tempered glass, fabric, and natural elements, and she has recently delved into beadwork, sewing glass beads into canvas. Through her art, Chabwera is dedicated to the rejuvenation of her spirit and soul.

Sculptor Murjoni Merriweather hails from Temple Hills, Maryland, and her artistic journey began at the tender age of 8. She honed her artistic skills through trial and error, often using art kits generously provided by her parents. Her early exploration of various art forms included photography, drawing, painting, and graphic design. However, it was in the 8th grade that Murjoni discovered her deep connection with ceramics, a love affair that remains strong to this day. 

In 2018, Murjoni earned her BFA in Ceramics with a concentration in Film/Video from The Maryland Institute College of Art. During her academic years, she delved into creating art that celebrates the Black experience through figurative forms. Murjoni’s artistic journey has taken her to various places, including Creative Alliance (Baltimore, 2019-2022), Fountainhead Residency (Miami, 2021), and The Alma | Lewis Residency (PA, 2022), where she has explored the emotions conveyed through clay. Her work has been featured in prestigious institutions such as Rubell Museum DC, Baltimore Museum of Art, St. Louis Art Museum, The Walters Museum, Jeffery Deitch LA, The De La Cruz Collection, and many more. Currently residing in Baltimore, Maryland, with her feline companion Kiva, Murjoni continues her mission to inspire and celebrate Black culture, ensuring it receives the recognition it deserves

For over 400 years, Black individuals endured dehumanization, arriving in the United States as property, captured, enslaved, and treated as commodities. Centuries later, their so-called “liberation” only brought the promise of equality and freedom, which remained elusive. The struggle for genuine freedom has persisted, with generations fighting for their most fundamental rights, yet finding themselves marginalized in American society, regarded as inferior. Black people in America have been inundated with the false notion of their inferiority from all sides. This belief in their lack, ugliness, and unworthiness has permeated every aspect of their culture, manifesting in disparities across workspaces, educational institutions, the media, and various systemic injustices. Even today, they face discrimination based on their skin color, hair texture, style choices, upbringing, and more. Murjoni Merriweather’s art is a response to and a rejection of these negative stereotypes about Blackness, both within and outside the Black community.

It involves dismantling European beauty standards imposed on Black people while promoting and normalizing Black culture. Embracing their hair, skin, and features without shame, her artwork celebrates various facets of Black culture, from hair and grills to nail art. Each piece, bearing names of Black individuals or assigned by Black voices, embodies its unique spirit and purpose, mirroring the diversity of human experiences. These artworks stand boldly and proudly as representations of an unforgettable and influential culture. Through her creative gateway, Murjoni seeks to foster self-love, confidence, and appreciation, crafting her art for Black people to showcase their inherent beauty and embrace their identities with pride.

Glenda Richardson, a fiber artist, began her quilting journey in 1995. Born in Rocky Mount, North Carolina, in 1952, she now resides in Fort Washington, Maryland. Glenda earned her formal art training at Howard University’s School of Fine Arts, graduating in 1975. She discovered the power of quilting as a means of artistic expression and storytelling through her involvement with the African American Quilters of Baltimore (AAQB). Her artistic practice encompasses emotionally charged portraits, social commentary, and improvisational works using unconventional and repurposed textiles. Glenda served as the President of AAQB from 2017 to 2022 and was instrumental in coordinating the guild’s exhibits and activities.

She has been an essential liaison between AAQB and the Fiber Department of the Maryland Institute College of Art (MICA), facilitating workshops, collaborating on projects like the Monument Project, and contributing to the growth of the MICA Quilt Club. Glenda also played a pivotal role in organizing virtual quilting events during the pandemic shutdown. Notably, she was commissioned, along with two colleagues, to create quilts for the Peale Museum’s renovation, which are now on permanent display. This project led to an exhibition titled Quilted Connections: A Sisterhood in the Cloth. Glenda’s work has found permanent homes at the Benjamin Banneker Museum and the Peale Museum in Baltimore—her portrait of Paul Robeson as Othello has recently been acquired by the Smithsonian Museum of American Art. With a strong foundation in formal art training and a lifelong commitment to quilting, Glenda Richardson continues to make a significant impact on the world of fiber art and storytelling.

Glenda’s artwork blends emotionally charged portraits, social commentary, and improvisational pieces that utilize unconventional and repurposed textiles. It combines pieced fabrics, discovered objects, buttons, beads, handmade papers, and discarded jewelry. These items are offerings from relatives, friends, and the broader community of women and men she has collaborated with. They play a vital role in narrating a personal story with universal significance. Richardson’s work explores various themes, including physical and spiritual healing, the remembrance of loved ones, and the rituals of passage experienced by women. She also integrates text with imagery to create pieces inspired by poetry, proverbs, and universal truths from diverse cultures. Through her artwork, she pays homage to African American heritage, connecting with the rich tapestry of her roots.

Nastassja Swift is a talented artist who earned a Bachelor of Fine Arts from Virginia Commonwealth University. In 2022, she was recognized as a Distinguished Fellow at the Penland School of Craft. She also had the honor of being commissioned by the SCAD Museum of Art for a special performance called “Turning Seeds.” In 2019, Nastassja’s short film and collaborative performance, “Remembering Her Homecoming,” premiered at the Afrikana Independent Film Festival and was screened at the Virginia Film Festival in Charlottesville. Her artistic journey led her to undertake her first large-scale public art project in Richmond, VA, after being selected for a Public Arts Commission.

Nastassja has received several prestigious awards and fellowships, including the Center for Craft: Craft Research Fund Artist Fellowship, a Virginia Museum of Fine Arts (VMFA) Fellowship, a Dr. Doris Derby Award, an Art Matters Fellowship Award, and the inaugural Black Box Press Foundation Art as Activism Grant. Her work has been featured in various publications and collections. She has also participated in national and international residencies and exhibitions, showcasing her art in places like Doha, Qatar, NADA Miami, The Urban Institute of Contemporary Art in Michigan, Carl Freedman Gallery in the UK, and institutions like the Vermont Studio Center, SPACES in Ohio, and MASS MoCA in Massachusetts. Currently, Nastassja resides and creates her art in Virginia, drawing inspiration from her surroundings that fuel her creativity

Nastassja Swift is an artist who specializes in making sculptures using wool. She creates soft sculptures that tell stories about history, women, spirituality, and community connected to the human body. Her artworks come in various forms, like traditional sculptures, installations, performances, videos, and collaborations. She gets inspiration from West African masks and Yoruba rituals, using techniques like needle felting and working with fibers to bring her ideas to life. Nastassja’s art goes beyond just representing people. It often shows parts of the body or incomplete figures, inviting viewers to think deeply about her stories. Her portraits challenge traditional ideas of who we celebrate, question historical accounts, and share Black people’s rich experiences and memories. In her artwork, Nastassja uses a visual code influenced by African diaspora communities. She draws from the cultures and histories of these places, creating a platform to explore and honor the diverse identities and legacies that have shaped our world. Through her work, she highlights the important connections between art, culture, and history.

A Baltimore native, Dr. Joan M. E. Gaither firmly believes that quilts transcend mere decoration, beauty, comfort, and protection. She sees them as powerful vehicles for storytelling, using meaningful fabric, traditional patterns, collaged text, and imagery to narrate personal stories. Through these layers of meaning, quilts have the capacity to document not only her life experiences but also those of other individuals, places, and events. In her view, quilts convey the human story, forge emotional connections with critical issues, and serve as a means to share stories that demand to be heard while maintaining a deep-rooted connection to our heritage that remains vibrant and relevant. As an artist, Dr. Gaither has discovered that her creative voice is shaped by her fascination with mixed media, fibers, and photographic images, which offer opportunities for close examination of surfaces and metaphors for personal significance. Her journey in manipulating fibers on a grand scale to express aspects of identity and culture can be traced back to exhibitions in the mid-1970s, where she collaborated with esteemed colleagues and mentors such as Joyce Scott and Dr. Leslie King Hammond. Inspired by the quilts of Gee’s Bend, which repurposed work clothing, Gaither employs a block structure reminiscent of ladders, a motif also found in some Gees Bend quilts. Gaither’s unique artistic techniques encompass stitching, collaging, layering, and embellishment, elevating quilting into a form of documentary storytelling. Through her art, she sheds light on important narratives and creates a platform for deeper understanding and reflection.