Adrienne Chadwick is an artist and arts administrator who has dedicated 27 years to reimagining art museums and advocating for excellence in arts, culture and education. She is founder of Culture Conduit Consulting, providing arts education, public programming, community engagement and diversity, equity and inclusion resources to organizations across industries. Chadwick has served as Curator of Interpretation at Mississippi Museum of Art (2019-2020), Director of Education at Pérez Art Museum Miami (2016-2019), Education Manager at Nova Southeastern University Art Museum Fort Lauderdale (2012-2016), and Director of Education and Exhibitions at Young At Art Museum (1995-2012). She sits on selection panels including National Endowment of the Arts, National Congressional Art Competition, Miami-Dade County Cultural Affairs, and is a Board Member of The Museums Association of the Caribbean. A studio art practice focused on mixed media installation expressing ideas related to power and resistance-in society and nature, compliments her museum work. She earned a BFA from the University of Florida/New World School of Arts, and an MPA from Nova Southeastern University. Based in South Florida, born in Toronto, Canada and a citizen of Belize, Central America, Chadwick is an avid traveler who has visited all seven continents and is devoted to supporting cultures and customs in her local communities.

Miami’s avant-dance duo Afrobeta have been tearing up dancefloors in their hometown since 2006 with Miami New Times even naming them Best Band in 2010. After the success of their 2010 debut EP, Do You Party?, the band released their debut album “Under The Streets.” Cuci Amador and Smurphio formed Afrobeta in 2006 as a means to attain an ultimate form of artistic self-expression. Their mutual love of classic songwriting, Cuban pastries and dancing till 5am inspired them to make music together. Afrobeta’s unique (and diverse) sound transcends genre classifications. Cuci’s rapid-fire delivery, combined with Smurphio’s funky synths and head bopping basslines, will keep you moving from start to finish on their 13-track album featuring its first single “Play House” on their 2011 album “Under The Streets.” Presently the band released Wig Party as a “thank you” to their much-loved fans. The release features several new singles, remixes of previously released songs, mashups and a new take on Devo’s classic “Whip It!” “Participating in the Identity Festival tour this past summer really influenced the making of Wig Party. We wrote the songs ‘Virtual Life’ and ‘Anthem’ while on the road. We were very fortunate to have DiscoTech remix our song ‘Love is Magic’ and we would also like to thank the Nervo twins for their informal birthday greeting intro on ‘Birthday Situation.'” The band was ready for a change of pace after a busy tour schedule over the past couple of years, playing Glastonbury Festival, Burning Man, New York Fall Fashion Week, Ultra Brazil, Space Ibiza, Camp Bisco and Identity Festival. Afrobeta has rocked alongside artists including Trentemoller, Booka Shade, Hercules and Love Affair, The Crystal Method, Annie Mac, Holy Ghost!, Nero, Kaskade and The Bloody Beetroots.

Handmade paper is my perpetual partner, strong and resilient while appearing to be the opposite. I use Korean paper, known as hanji. For well over a decade, I have researched techniques to make hanji and transform it into artists’ books, sculpture, installations, garments, prints, and hangings. I use joomchi to produce clothlike texture, jiseung to twist and twine strips of paper like basketry, plants and insects to extract multi-colored dyes, and drop spindles to spin paper into thread to weave and sew. This intense hand work connects to ongoing Korean and East Asian traditions, which root my daily labor in a lineage that traces back centuries, learned in quiet studios of national treasures who have dedicated their lives to singular mastery.

Aisha Tandiwe Bell is first generation Jamaican & ninth generation traceable Black American. Her parents met at City College. Conceived in Tanzania & born in Manhattan, she was Raised Bobo Shanti Rasta spending her early childhood on Bobo hill in Bull Bay, Jamaica. Inspired by the fragmentation of our multiple identities, Bell’s practice is committed to creating myth & ritual through sculpture, performance, video, sound, drawing & installation. Bell holds a BFA, & an MS from Pratt & a MFA from Hunter College. Bell received a NYFA in Performance Art/ Multidisciplinary Work & has had artist residencies/fellowships at Skowhegan, Rush Corridor Gallery, Abron’s Art Center, LMCC’s Swing Space, The Laundromat Project, BRIC & more. She has been a fellow with DVCAI on International Cultural Exchanges (Jamaica 2012, Surinam 2013, Antigua 2014, Guadeloupe 2015). The Museo De Arte Moderno’s Triennial 2014, The Jamaica Biennial 2014, MoCADA, The Rosa Parks Museum, CCCADI, Columbia College, Space One Eleven & Rush Arts are a few spaces where Bell has exhibited her work. She lives in Brooklyn with her husband & two children.

Because paper holds memory in its fibers, I collect, recycle, and harvest my own materials, whether from local plants or fabric remnants. To evolve hanji technology, I experiment with North American plants in a custom hanji vat and studio. This mirrors my experience as a Korean American as I excavate my life to express themes of belonging, human frailty, and subtle details of what it means to be a person in the world. I pull on threads of history through field work, study with intangible heritage holders, and bearing witness to nameless paper artifacts in museum storage that inspire my contemporary iterations. Through this continuous research and practice, I use hanji to create a place for myself and abundant possibilities for those who follow.

Amanda Bradley is a Belizean American artist and curator based in Miami, Florida. She received a BFA in Photography from New World School of the Arts. Her photographic work explores place and landscape as a means to connect and understand identity, belonging, histories, and relationships. Selected Solo exhibitions include The land remembers the flood at FAR Contemporary Gallery, Ft Lauderdale, Florida (2021), From One Sea at Mt Sinai Medical Center, Miami, Florida (2021), Further than Memory, Intimate Distances at Artmedia Gallery, Miami, Florida (2019). Selected group exhibitions include The Measure of Time, at Artmedia Gallery, Miami, Florida (2023), Residential Properties 2.0 at Diana Lowenstein Gallery, Mami, FL (2023), BluPrint at Bridge Red Studios, North Miami, FL (2022), A Meeting Place for Women in Photography in Miami, FL (2021), Work from Home at the Bass Museum of Art, Miami, Florida (2020), Notices in a Mutable Terrain at Fundación Pablo Atchugarry, Miami, Florida (2019), It will never become quite familiar to you at Oolite Arts, Miami, Florida 2019, amongst others. Bradley was a WOPHA Artist-in-residence at Faena in 2020 and participated in the Home + Away residency at Atlantic Center for the Arts with Oolite Arts in 2019, she was a resident artist at Bakehouse Art Complex from 2018-2020 and is a two time Suncoast Regional Emmy award winner for her work on the films "Sasha Wortzel: Mining the Gaps" and "1402: Pork & Bean Blue."

Amanda Choo Quan's writing charts the future of social justice movements — while acknowledging their genesis in the Caribbean. Her preferred subtopics are displacement, migration, cruelty, and examining the ways white supremacy has successfully divided Black and Brown populations. She is curious about reparations meaning far more than money, and wonders what a Black transnational state could look like. She is interested in uncovering the ways the United States helped to transform the English-speaking Caribbean from socialist intellectual hotbed into tourist backyard. Her most recent work focuses on telling the stories of Maroons in the Caribbean and their present fight for Indigenous recognition. She is interested in Marronage as a philosophy to counter the flimsiness of this political moment.

Angela Bolaños is a Honduran born artist living in Miami, FL. Her process-driven creative practice makes use of textiles, reflective surfaces, found objects, traditional media and experimental techniques. Inspired by organic shapes often juxtaposed with geometric shapes, patterns and paper collage, the physicality of her work seduces the viewer with its rich texture, ebullient colors and expressive movement. The creative journey of her work represents physical expressions of her continuous search into concepts of self- identity, cognitive psychology, perception, and the passing of time.

Anja Marais is a multidisciplinary artist who was born and raised in the countryside of South Africa. She graduated from the University of South Africa with a BFA. She currently works and lives in Miami, Florida, and exhibits her work in the national and international arena. Marais’ interest in the nature of inanimate objects comes from African animistic religions. Uninterested in the boundary between the human and the nonhuman worlds, she focuses on inviolable memories left in landscapes. Her sculptures are both traditional and contemporary – totemic installations of found objects infused with a given history, resonating with the lives of those who lived with them before.

Anna Meir is an artist living and working in Miami Fl. She focuses on blurring the lines between art and life to create beneficial and eye opening experiences. Each of the projects on this site is an attempt to understand how art and storytelling can make a positive impact on society.

My work is a manifestation of black female liberation. I transform WNBA players into super heroes searching abstract space for a new home that recognizes their greatness, skill, and perseverance. These women finally able to liberate themselves from the heteronormative hierarchy of Earth, are embracing their future while destroying their past. I view the complicated consciousness of my African-American existence through this landscape. Narratives by John Akomfrah and Octavia Butler have inspired me to create a world shaped by black excellence and freedom through collage, printmaking, painting, and stop-motion animation. I use animation as a 4th dimension in my work to activate the still images. These videos transform physical rectangles into portals to my alternate reality. The WNBA cards depict decisive moments. In these images players are stretching their limbs and their gaze towards the basket, the goal. My grandmother was the Women’s Basketball Coach at Dillard University. Her presence would inspire adults and children alike to sit up a little straighter. She implored her players to hold themselves to a higher standard on and off the court. She told them that these skills would reach beyond their time on her team. Through the language of this game I ask myself and the crowd: “What are you reaching for?”

The fascination with the origins of skin color has been a constant source of inspiration for me, particularly the significance of my dark skin. This curiosity deepened when I relocated from Haiti to the United States, encountering racial discrimination during my teenage years. In response, I embarked on a journey of self-exploration, translating my understandings into paintings and later into multi-sensory interactive art installations. The quest to understand my identity led me to delve into the realms of neuromelanin and the pineal gland, exploring their connections to spirituality, magic, and thought forms. Neuromelanin, a dark pigment secreted by the pineal gland at the center of the brain, prompted my investigation. René Descartes proposed that the pineal gland is "the principal seat of the soul, and the place in which all our thoughts are formed," while Dr. Richard King suggested it serves as a biological doorway for the life force of African spirituality, bridging the spirit and material realms. My artwork, characterized by ambiguity and quasi-figurative elements, addresses key themes in contemporary discussions about neuromelanin. Employing a mix of traditional art mediums and unconventional organic materials, my creations offer a surreal exploration of under-recognized African-American inventors and the intricate aesthetics, narratives, and metaphors associated with the organic pigment. In my latest body of work, 'Magical Entities,' I delve into the realms of creative magic and the endeavor to master my subconscious mind. Magic, as I see it, opens a door to mystery and wildness while operating within. In a world that often deceives us into feeling alone and powerless, spiritually, we transcend these misrepresentations of ourselves. Drawing inspiration from the experiences of shamans worldwide, I create mixed media paintings that symbolize a journey into intention and enlightenment. Each artwork becomes a symbolic object, space, alter, or magical sigil, charting a specific path and defining my personal reality. Combining modern magical methods, inspired by Hermetic Magic, with common magical formulas and coincidence, I infuse each art object or environment with my imagination and essence. My artistic process aims to manipulate my subconscious mind, provoking contemplation about the self, reality, and imagination. The spiritual essence of neuromelanin and the inner light has the potential to connect us to a higher state—a universal consciousness that unites us all as human beings.

“My studio practice reflects my approach to life: to cultivate meaning with a combination of structure and fluidity, and to glean from each process all the leftover bits that get misunderstood and tossed aside. My studio process consists of bending solid structures into curved forms and reflects the myriad ways in which I navigate life as a member of multiple marginalized groups. I sit with a straight piece of wood, sometimes for several hours at a time, measuring and placing strategic cuts. Each cut is representative of having been ‘cut-down’ by – or negatively affected by bias. Racism, sexism, classism, heterosexism and overarching stereotype of the angry Black woman. Each of these calculated, repetitive cuts allows the wood to bend and thus represents the many forms in which the constant bias I face does not break me, but instead teaches me to maneuver life with more fluidity and grace. My work is about the shifting of structure. Structure can be literal, like something made of wood that is sound and stable, like a house. But structure can also be figurative and theoretical, like the intersectionality of racism and sexism. It is within those structures that the majority of our ideals – and the focus of my work – are embedded. They are institutions in which we live and reference the progress of our lives – even as we try to remove ourselves from them, they remain our frames of reference, for better or for worse.”

Briheda Haylock was born on December 28, 1990, in Belize. Haylock made her trailblazing entrance into the visual arts community in 2012, with artist Ruhiel Trejo, the art exhibition ‘Society Killed the Teenager’ challenging their society's social oppression, individualism and politics. Haylock developed her voice in the community as bold, provocative, and controversial with a healing psychological twist looking at individualism, gender-based violence, and making a stance for the LGBTQIA+ community, of which she is also a member. Since her debut, Haylock has done numerous shows, solo, and collective. Haylock has been continuously active in promoting the contemporary art scene in Belize as well as curating art shows for NGOs such as Special Envoy for Children and Women and UNIBAM. ‘Milestone’ (2014)helped highlight the most prolific women in Belize. ‘My Story’ aided with the Humanization of the LGBTQIA+ community with the show, My Story (2015). Haylock was also a part of a small editorial team Baffu E-Magazine (2014-2016) that highlighted the contemporary visual artist, and poets in Belize and documented the culture of Belize. Her visual pieces and poetry were featured in the publication. Haylock is also a member and a co-founder of Belize Women Art Collective (BWAC), an art group geared to promoting women artists in Belize. In 2016 Haylock was listed as one of the top 14 women who has an influential voice in her Belizean society. While Haylock is widely known for her visual arts presence, she also has a presence in the poetry community starting at a young age. In 2006 her poem Word of Anger Which We Speak was published in a small collective Poets R’ Us. Haylock became a member of 501 Spoken word around 2015. She has performed with the group Spoken Word 501, and has a feature in the anthology: Poetic Narcotics. She performed at the event Doh seh It! ( 2018). Her international poetry festival performance was Poesia versus Diferendo, Crea. Puerto Barrios Guatemala (2018) and also participated in 17 Festival Internacional De Poesía De Quetzaltenango, Guatemala,(2021) Haylock is currently building an international presence, her works have been featured in collective publications such as Bible Belt Queers, in 2019, and Ghost of A Dream in 2021 a global video collective project. She has also been acknowledged in Mexico for her contribution to the Central American performance art scene.

Born in Commercy (near Verdun), France of Caribbean parents, (Guadeloupean father and Martinique mother), Métura resided in Lorraine, Germany and Deux-Sevres, France before returning to the West Indies, where his aspiration to live in his original culture was affirmed. Métura entered the regional school of plastic arts of Martinique where he became the holder of a DNSEP and entered the national education system in Guadeloupe. He lived in French Guiana for more than 10 years and in 2006, he returned to Guadeloupe where he established himself as an educator and professional visual artist. His creative will is based on the observation of nature, man and his cosmogony. Through his observation, Métura has the unique ability by creating canvases that search of harmony in a whole, which makes it possible for the viewer to rotate and/or juxtapose the works that he has created. For Métura, the creation in the act of painting, is a journey which allows him to wipe the space. His work transmits the viewer to engage within themselves, to appreciate and recognize, their dimension of men and women. women “Caribéenne is my dance…To paint is to express the reflection of the living, to discern the invisible by the movement, in the movement of the forms and the colors, to learn how to live the harmony by adopting the attitude of diversity of the point of view in the same space, and to understand that the All is already there.”

Carol Campbell is an award-winning Jewellery Designer / Goldsmith with over 35 years’ experience in the field. She is a graduate of The Alberta College of Art and Design in Canada. Her talents have been employed in the fields of Fashion, Film, Museum reproductions, Arts Management, and Education. A champion of cultural development through the arts, she is active in several organizations that support artists’ development locally and overseas. She currently maintains a private design studio, and lectures at the Edna Manley College for the Visual and Performing Arts, School of Visual Arts.

I believe art is empowering. I believe in action towards social reconstruction. A world of self-examination leads to self–improvement and empowerment. I want all of us to be more conscious of social manipulation and its long-term effects. I create artwork that brings this consciousness to the forefront so people can be intentional when responding to what we experience in the world. My artwork is based on intersectional feminist ideas regarding gender and identity politics because self-examination leads to self-improvement and empowerment.

Caroline Holder was born in England to a Jamaican mother and Barbadian father; the family moved to Barbados when she was four year old, where she completed her formative education. Holder left the island after high school to study Design and Painting at York University in Toronto, and Art Education at McGill in Montreal. She ultimately relocated to New York City in the early 90s where, except for a hiatus to complete an MFA in Ceramics from NSCAD University, Nova Scotia, she has maintained a consistent studio practice while teaching art at the Professional Children’s School. Holder’s primary medium is clay, from which she crafts ceramic object-sculptures combined with drawings and text. Her influences include a background in printmaking, a love of pen and ink drawings, experiences of intersectional identity as a Caribbean immigrant in North America and most recently the life-altering experience of late motherhood. Holder has been showing work since 2002, most recently at Clay Art Center in Portchester, NY and Carifesta VII, in Barbados. She has received recognition for her work, in scholarships, awards and nominations, with an exhibition record which includes shows across the US, Canada and the Caribbean.

Chantal received a BFA in photography from Parsons School of Design in NYC (1999), she studied with Charles Harbutt and Vik Muniz. She is a researcher, visual storyteller and is engaged in investigating narratives of power, visuality, aesthetics and violence, attempting to reveal what lies beneath the colonial debris in Latin America and the Carribbean. She is the co-founder and editor in chief of La Rampa Magazine. In 2000 she worked for a Canadian-Cuban publishing house Lugus Libros in Havana, Cuba. In 2002 she co-founded La Rampa, a photographic publication exploring visual story-telling and decolonial aesthetics in Latin American and the Caribbean. She worked as creative director and photographed issues in Haiti, Cuba and Brazil. Chantal exhibited work from Haiti Cherie (the Haitian issue of La Rampa) at the Diaspora Vibe Gallery, (Miami Basel) in 2003. Haiti Cherie, was officially launched in 2004 at the Washington DC, Folk Life Festival dedicated to the bicentennial of the Haitian Revolution. She co-founded Ato Studios in Rio de Janeiro in 2008 – a multimedia and communications studio where she produced short films and photographic essays on social and human rights issues. She also worked as an activist and youth educator from 2005-2010 while producing The Undesirables a multimedia project about children living in a sewer on Ipanema Beach. It was a feature exhibit at the Contact Photographic Festival in Toronto, Canada ( 2011). Chantal is a Brazilian resident, born in Toronto, Canada of mixed Guyanese and Welsh heritage. She is based in Rio de Janeiro, Brasil and Lisbon, Portugal.

Cherish Marquez (b.1989 El Paso, TX, USA) spent her childhood in Sierra Blanca, TX, and adult life in Las Cruces, NM. Currently, she lives and works in Denver, Colorado. She holds a BA in Fine Arts and Creative Writing at the New Mexico State University and an MFA in Emergent Digital Practices from the University of Denver. She is an interdisciplinary artist with a focus on digital media. She has been an advocate for victims of sexual abuse and for people with disabilities. She fights against mental health stigma and is an active member of the Queer community. Her practice includes creating digital landscapes, 3D modeling, Animation, Sound Design, Wearable Technology, Creative Coding, and Photography. She is knowledgeable in programs such as Maya, Blender, Photoshop, InDesign, After Effects, Affinity Photo, Affinity Design, Unity, Unreal, Final Cut Pro, Divinci Resolve, Max MSP, Arduino, Processing, Spark AR, Substance Painter. She is currently an artist in residence at Redline Contemporary Art Center where she mentors students in the (E)ducation (P)artnership (I)nitiative for the (C)reative, aka EPIC Arts Program. She has shown her work in Ars Electronica Galley Spaces (Online), CADAF Contemporary & Digital Art Fair (Online), Social Distance Gallery (Online), RedLine Juried Exhibition at RedLine Contemporary Art Center (Denver, CO), Proud+, The Studio Door (San Fransico, CA), Coalesce && Object at the Vicky Myhren Gallery (Denver. CO), and OUTSIDERS at Leon Gallery (Denver, CO).

Chris Friday is a multidisciplinary artist and independent curator, based in Miami, FL. Friday’s work explores themes of rest, privacy, and supplementing the archive as a way of advocating and claiming space for Black bodies that are historically excluded from it. Utilizing the internet as an infinite source of archival samples, she collects iconography from the shared experiences of people of color to construct and preserve alternative historical and personal narratives. Often incorporating a black-and-white Chalkboard aesthetic, which plays on concepts of learning and teaching, Friday analyzes mainstream media to identify problematic representations and their origins, questions the legitimacy of such perspectives, and imagines possible solutions with her work. Her portfolio features large-scale works on paper, murals, video, ceramics, projections, photography, comic illustrations, and social practice/activism through curating. Friday’s work has been included in exhibitions locally, nationally and internationally. Notable group exhibitions include “Narcissist”, presented by the Museum of Contemporary Art North Miami (2023) as a part of the Art on the Plaza Residency, “Rest is Power”curated by Deborah Willis and Kira Joy Williams and presented at New York University (2023), and The Cartography Project” presented by the Kennedy Center for the Arts in Washington, D.C. (2022). Solo exhibitions include the forthcoming “Where We Never Grow Old”, curated by Rangsook Yoon and presented at Sarasota Art Museum, (2025) “Good Times” curated by Laura Novoa and presented at Oolite Arts, (2023) and One More River, curated by Michael Dickins and presented at Austin Peau State University (2022) Friday has received numerous awards, fellowships and grants, including being named the South Arts Southern Prize State Fellow for the State of Florida (2023), a Knight Foundation “Knights Champion” grant recipient (2022) , a “The Ellies” Creator award from Oolite Arts (2023 &2021), The GMBCV People's Choice award in Miami Beach's No Vacancy juried art show (2021), and residencies with AIRIE Everglades National Park (2024), Diaspora Vibes Culture Arts Incubator (2024), Oolite Arts, (2023/22), MassMoCA (2023), Anderson Ranch Arts Center (2022), and the Visual Arts Residency at Chautauqua Institute (2019).

Christopher Carter was born in Albuquerque, N.M., and raised in Boston. Carter infuses a blend of ethnic and urban influences in all of his artistic work. His bold and decisively organic sculptures strongly reflect his African-American, Native American and European heritage. His assemblages embody power and energy accentuated by the source materials he selects for his creations. Rarely using anything “new,” Carter fashions a chorus of images composed of recycled woods, metals, glass shards, ropes, resins and a variety of discarded objects that, when united seek, to depict traditional concepts in an innovative and creative way.

Cornelius Tulloch is a Miami-based interdisciplinary artist and designer. With work transcending the barriers of photography, fine art, and architecture, Cornelius focuses on how creative mediums can be combined to tell powerful stories.Whether it is through photography or painting, cinematic moments and spatial complexity are depicted in his work. Lighting and color become characters in the art. His unique storytelling through his work has been shown in fairs and museums like the Kennedy Center, Washington D.C.; Pulse Art Fair, Miami, FL; and the Museo Nazionale Delle Arti Del XXI Secolo, Rome, Italy. From being recognized as 2016 Presidential Scholar in the Arts to having his work added to the permanent collection of the Studio Museum in Harlem, much of his success has come from the important discussions his work has created; which often are inspired by his cultural background. Being raised in Miami and gaining inspiration from his Jamaican and African American heritage, his work expresses how bodies exist between cultures, borders, and characteristics, to create spatial impact. Cornelius is an emerging talent that is reshaping the boundaries of art and space.

Daveed Baptiste is an interdisciplinary artist whose work incorporates fashion, textiles, and photography. He draws his inspiration from his migration from Port au-Prince, Haiti to Miami, Florida. Through collaborative projects like, Haiti To Hood and Between Lands, Baptiste investigates the notion of race, gender and class within the Haitian community and the larger Caribbean diaspora. He was awarded a year-long apprenticeship with Converse, where he co-designed the Black Joy Collection, and a new colorway/material design for the Energy basketball team. Baptiste earned his Bachelor of Fine Arts from Parsons School of Design in New York. His photographs have been published in The New Yorker, The New York Times, and American Vogue. He has participated in exhibitions at New York University and the Aperture Foundation. Baptiste is currently an artist-in residence at the Silver Arts Project in lower Manhattan