a literary journal published by the Black Earth Institute dedicated to re-forging the links between art and spirit, earth and society
The Estuary and Reeds in Milk with Wells live in a hand-bound journal of multi-media collages called Gifts of Winter. These works—along with the other pages in the book—use an abolitionist lens to ask questions about BIPOC and queer people’s forced separation from—and ultimate belonging to—the sea and its saltwater ecologies. My sources are found objects and photographs of the coral reef south of Bimini, Bahamas where I work on a boat with three other white people. Through deep relationships back home in Durham, NC, I practice a creative self-interest in dismantling white supremacy culture, specifically around connection with water.
Catherine Edgerton refracts images through multimedia collage and kaleidoscopic play to interrogate notions of sanity in the US. She has been inking, layering and stitching mixed-media records in hand-bound books since she was fourteen. She builds in layers, re-binding myths of “good” mental health in the context of white supremacy culture. In expansion of this work, Edgerton invites lens-shifting through stained glass. She uses transparent objects—bug wings, film slides, brake lights—to build kaleidoscopes and TV lanterns, juxtaposing the mundane with play to create surreal visions of patterns and light. A sailor and dive-instructor by trade, her most recent work reflects images of bleaching coral and masked figures in tension between the hoax and reality of whiteness. Edgerton’s work moves in dialogue with multiple community art projects and collaborations that employ kaleidoscopes, SCUBA diving, and archiving to engage abolitionist practices with a creative lens.