Anime Omission small documentation excerpts

Anime Omission,  explores an animator’s compromised appropriation from Japanese animated importation  with a colonized image. That image being the assault and omission of the black woman’s nuances drawn with the concealed struggle with the dogmatic post-colonized image. Bringing a displacement of empathy caused by those character portrayals and aesthetics.

It is a personal lament to the baggage that representation brings; and how the omission of positive and affirming cross cultural aesthetics reform our understanding of black woman and their character.


THOT Trap the life and times of Tanitra and Dominiqa

These small mixed media drawings were apart of the process of creating THOT Trap

Expanding on the main characters created for the thesis show expressing their essence in what would soon be traditional hieroglyphic representations paired with their objectified sculptural representations in the gallery space.

Upcycling animation techniques and symbols I wanted to show the complexities of each characters personality and movement. A glimpse into how they gesturally navigate their way through their world.  more excerpts will be shown soon.


Full artist statement: 

THOT Trap is an introspective body of work about misogynoir, with emphasis on creating metaphors that explore act of dehumanization, over-sexualization, and policing the black female body within the black community. Tackling characteristics of assertiveness, fluent sexuality, and confident self-expression that would normally be seen as more acceptable for other races to have but produce stigmas for the black female image. The title THOT trap is inspired and derived from Black slang, consumer media and urban tropes are a catalyst for large scale sculptures, relief works, and paintings that illustrate the methods, manner and processes that often support the social engagements that give birth to misogynoir

THOT Trap reanimates these oppressive attitudes towards the African American woman trough use of slang and materials that have historical, physiological, and contextual element. Using 2d and sculptural components to create caricatures that develop as urban fictional tropes within black consumer media to progressing visual metaphors of misogynoir that reanimates some of the significance to this social anomaly.

The work riffs on the tangible and the intangible. As the figurative charters created for the show and its narrative are tropes of the “jezebel” the “loud black woman” the “sassy black woman” and other various tropes created by white media and perpetuated in black media. Because of over perpetuation two dimensional characters that are produced, advertised and consumed through media have discouraged the real feelings and real experiences that each character faces. Which mimics how misogynoir works in real life.

The utility of animation allows for a greater sense of these individual characters. The sculptural figures are a presentation of a defamation of the main characters created for the narrative. These animated characters appear as hieroglyphs so as to greater depict their natural selves when juxtaposed against the grotesque imagery of their sculptural counterparts. The sculptures are in the viewer’s space and are larger than life, they expand for the viewer the reality of these characters situations. The space and orchestration of the works are by design, there to inform and involve the audience. I am interested in a way of creating a uneasy relationship with the viewer, by using the form of installation and traditions work including their presence, and bodies into the space and thus into the work.

The brown sugar and chocolate throughout the show represent the sexuality of the black woman projected on them by the black social structure (or lack thereof) that reduces them to consumable carcasses. That reveals how truly grotesque the context of sexualized and objectified attitudes can be.

While this is a specific and directed topic, the work also aims to additionally transcend this topic to reach out to the viewer and create a place of connection and discussion.



MOOD board2

defamation of character


Annie Chrissy* Burley: found and made objects with test sculptures and paintings for a bigger body of work. May 2016

MOOD board1



Annie Chrissy* Burley: dryedm pomelo fruit, acrylic,  and acrylic on canvas. May 2016