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Conversation with the Artists: Asia Lae Bey and the Childlike Empress

12/12/2018

I had the honor of sharing space and words with two amazing artists, Asia Lae Bey and the Childlike Empress to record the majesty that was Asia’s November 2018 solo exhibition, Evening Plum, at Bunker Projects. I invited the Child Empress to celebrate Asia and her exhibition through photography, knowing that their vision of Asia and her work would capture the energy of this show and this artist. This article also includes excerpts from the conversation that unfolded organically during the shoot, which took place on November 27th. It is edited for clarity and brevity.

Asia and the Childlike Empress use many different mediums and materials for artistic expression. The Empress is a photographer, musician, filmmaker, cook, writer, and dancer. They also sometimes draw. They considers cartoons and comics as “the foundation of [their] childhood and [their] inspiration to be into art,” something that they shares with Asia. Asia considers herself a comic artist more than anything else, although she also paints and sings and performs. We began talking about all the different mediums Asia and the Empress operate in as artists, which led me to comment:

Anna: I have been having so many more conversations with artists who are just like, I just do everything, and it seems to be more and more the mode these days. I think artists are realizing that one of the ways of resisting capitalism is to just fill needs.

Asia: Recently Steph Neary (IG @rusnearious) made a comment about art being food. And when you look at art as food you don’t hold it as leverage, you give it

Empress: You share it, and you savor it.

Asia: It’s also really difficult in capitalism. It’s also difficult depending on what identity you have, [because] as a black woman in the arts, I’ll talk to... maybe a socialist white man who is anti-capitalist, and they are like, “Why are your prints this much?” And it’s just like, oh! Because I need to live. I’m literally hunted otherwise… Regardless of whether or not I believe in capitalism it’s not going to deconstruct the system and if I don’t participate to some degree I will starve. That’s how it works. If you don’t participate you will be starved.

Anna: And part of the system is convincing people their labor is useless and it should just be taken from them or given away. Like, “this bit of culture is useless so I’m just going to take it from you” and then they’ll just turn around and make millions.

Asia: People think that, being a black woman, our labor is for free, Like, Doot doot dooo… I’ll Just take that. Aren’t you a Marxist? and I’m just like, ‘Boy! If you don’t!

Empress: Dude! Seriously, that’s a big struggle!

Asia: I have literally had people at the zine fair come up to me and - at the zine fair I try to keep them moderately priced - but I had a guy say to me one time, ‘fuck anybody who sell their prints for more than ten dollars.’ (Asia looked at us both incredulously) And I was like, ‘My prints start at fifteen.

Empress: (laughing) Oh so fuck me? So fuck ME then?

Asia: I love this city, I was born in this city, I was mothered by this city, but the kind of isolation and suffocation that it fosters - the kind of instruction that tells you you have to explain yourself for being alive as a black woman - I’ve really experienced this in the arts because there’s a surrounding elitism because of the institutions in this city and the schools. So you have to sit here and pound on your chest and beg to be seen and heard as a human being. You have to plead for your art to be considered art and work.

The Empress sees this as more than just a Pittsburgh problem, but something inherent in the structure of the art industry.

Empress: As someone who is newer to this city and is from New York City, I think that’s an art industry thing. And the beautiful world of creation and of sharing your art becomes - like you said - so suffocating and makes you feel worthless and it’s isolating as fuck.

Asia: One of the biggest capitalist crimes is it’s reach onto the arts, because art is active liberation of the self, and when you capitalize on that, you’re using this structure of liberation to re-oppress. And then you convince people that it’s validation. So then you have these - I’m gonna call them “alleged artists” - buying into these institutions for this illusion of validation and perpetuating this structure of oppression. So it’s like you take the medicine and then you just put micro-doses of poison within it. And then you continue to prescribe it.

This creates an environment in which artistic success is falsely associated with capital success and fame. The results are toxic not only for the artists who achieve that status, but also for other artists who are trying to survive and create and form some sense of stability in an “art career’ and who are comparing themselves to their ‘successful’ peers.

Asia: I feel like, when people want success and notoriety and clout… it’s because they want to extend their influence. They want to have higher visibility so their art can reach more people. [But the issue is that, once you’re at that level,] you’re not thinking about your influence right now because you have not interacted with these people and you have not made a conscious influence in people’s lives… Are you still researching? Are you still discovering? Are you changing, adapting, are you letting yourself fuck up?... Because influence needs change! Influence needs to grow…”

Asia never wants to forget about her own growth of self.

Asia: When you’ve got an artist who, you know their name (she snaps her fingers here to imply instantaneity) you can immediately see their work (snaps) ...I don’t want that for me. If you say my name, I want you to feel me. I want you to be like ‘Asia Bey, yeeaaah! What’s she up to now?’ That’s what I wanna hear: what is she up to now. Cause I’m up to something, and gonna be fresh, and it’s gonna be different. It better be different! And if it’s not, check me. What am I learning? Who am I influencing and how am I influenced?”

Two questions to get to know the Childlike Empress a bit better:

Anna: Who are your favorite subjects to shoot?

Empress: Not to be all Kanye about it, but myself. I love taking pictures of myself. It helps me take pictures of other people and also puts me really deeply in contact with myself. I also can be really triggering to dysmorphia sometimes but it usually alleviates that more than anything. Sometimes, If i’m creating for the sake of social media, which is very much so for the sake of other people approving of you, it feels not so good and not so therapeutic and healing. I critique myself through the eyes of others so I expect other people to see me so that gets really messy and sad sometimes. So I really made it a thing of just like, put on music that is familiar and just do the damn thing and it’s cool... But other than that I really like photographing my friends in non-planned moments.

Anna: What about art makes you want to consume it?

Feeling. The feeling it evokes. It doesn’t have to be a good one; it can make me bawl my fucking eyes out, it can make me super fucking horny, it can make me really happy or make me remember something about myself or my past, just evokes strong feeling. Feeling has been very important to me in everything and I think that’s the whole reason why I wanted to start doing art, was to evoke strong feelings in other people, because I think that feeling is proof that you’re alive.

Art by Asia Lae Bey
@asialae

Photos by the Childlike Empress
@visionsoftheempress
@the_childlike_empress
visionsoftheempress.tumblr.com
thechildlikeempress.bandcamp.com

Written and orchestrated by Anna Nelson
@anna.l.nelson
annanelson.net

Personal Essay by Caleb Hickerson written in the opening week of Brendon's Untitled solo show at Bunker Projects

12/12/2018

We Exist!!! The question is how are we existing? As time moves forward, our identity develops. However, science has suggested that we embody multiple identities which develop throughout life. Through his conversation of time, Brendon J Hawkins solo show, “Untitled” attempts to understand how we develop identity: how and why we have reached these categories we identify with and the decision to stay or break away from them.

Some of these categories are built on false principles, such as race and gender. That is not to say that there is no such thing as being black, but I don’t believe you can define that experience as based in color. It just so happens that a mass of people who have been exposed to this experience are of a certain color. But what happens to the young black girl or boy who doesn’t identify with that experience? By understanding how identity develops, we can pick apart what is real and what is not and use our multiple identities as a means of innovating art.

What is real: we live in multiple identities. These Identities differentiate ways of living which allow for an innovation in art and society by seeing a different perspective. And these identities change as time progresses. From the start of birth we are born into a family. I have a mother and father; I am their child. As time goes on we grow into adults, but the kid still exists and presents itself throughout our lives. In Brendon’s piece, “Signs of Streets Approaching”, we can see that the kid is still alive and is using its language to suggest a message about our future.

Our multiple selves are not only an outcome of biology, but also a product of society. Different professions, movies, books, artist, and celebrities give rise to new identities. The concern with these identifiable categories is that, over time, their meaning is constantly being added to or taken away from. If your are not aware of its changes, you could be identifying with a reduced version. Meaning you have a false sense of identity. To say that you are Punk is identifying with something that doesn’t necessarily exist. The experience does exist, as far as the individuality that comes with the punk mindset, but I’m not so sure that the experience can be summed up by rocking safety pins and bashing our heads together. Brendon tackles this idea through his Diptych “Mirrored Characters: Policed in a Mask & Imploding Self”. His use of historical portraiture, masks, cultural languages, and the black body questions: Who has defined this body, how, and why? Without an understanding of how these identities come into existence, people will continue to wear these mask.

So what is the significance of these identities in relation to art? As artists we must innovate. Artistic individuality is the most crucial aspect of defining what art is and how it functions. Art imitates life, life imitates art, and I can see no difference between the painting of a landscape and the landscape itself. The landscape is a work of art in and of itself, however the artist’s individuality, shown through personal language, transports us into their reality. As a result, the painting is the innovation: a change relying heavily on the Identity and technique of the painter. Now that the landscape is communicated through the Identity of the painter and their language, it can be appreciated by those who could not grasp the beauty of the landscape by itself. However, the painter did not create anything that did not already exist (the painting existed as the inner world of the artist, the landscape existed in the physical world that we all share, the act of painting was an act of communication), so the painter simply showed us the world and how they view it. Too many people are mistaking creation for innovation and have forgotten about trying to say anything at all. So, instead of building off of these so called “art movements”, they practice perfect replication and have turned these innovations into fads.

What happens to fads?

They Die.

In 2018, we are in the digital age concerned heavily with aesthetics. We are also at a time when people are looking to define their identity. One must focus on artistic individuality instead of aesthetics to create work that is uniquely theirs. All Art needs personal expression otherwise it’s just technique.

The “E” inside of Brendon Hawkin’s paintings gets capitalized because it’s rated E for everyone. Brendon Hawkins is channeling his teen identity, the one who used to play the video games with an “E Rated for Everyone” stamped on the cover. Using language in this way allows time to bridge so that the artist’s conversations can transcend time itself.

As artists, we use individuality communicated through our identities, which have different languages, to innovate techniques of the past and connect them with conversations of today. Pablo Picasso did not create cubism, he simply innovated an assortment of techniques (that are simply innovations on top of innovations) to communicate through different identities and the language of those identities. With someone like George Condo, you can see an influence from Picasso's Cubism. However, his individuality communicated through multiple identities have made Picasso's cubism into something else. Brendon seems to use this technique of “sampling” in his “Hanky Code Playing Cards.” Photos that are reminiscent of Warhol’s Polaroids (which are backed by Brendon’s use of Andy’s silver balloons) also speak the language of Yu-Gi-Oh trading cards. Another nod at his youth. Another use of his languages.

I challenge you, as an artist, to recognize that these multiple identities exist and become aware of how they develop. Pick apart what is and isn’t real, to you. Use these multiple identities and their separate languages as an advantage to innovate the state of art and self. Utilize the tools and techniques presented to us all as a means to communicate SELF.

Brendon Hawkins show, “Untitled” is open through January 13th, 2019. Clear your schedule because YOU DO NOT want to miss this. Come to Bunker Projects and allow the Beautiful, Loving, Artistic soul that is Brendon J Hawkins learn you this conversation of time and identity.

"When You Had Hair" - Portrait of Brendon J Hawkins by Caleb Hickerson, 2018

the author himself "Caleb" 2018, Photo by Brendon J Hawkins

ABOUT THE AUTHOR:

“I’m from Pittsburgh, Pa, it’s an uncanny experience.”
-Caleb Hickerson

Rules are meant to be broken. Caleb Hickerson believes this system was to be constructed, deconstructed, and then reconstructed; a true effort to define our identity. While defining his own Identity, Caleb art operates through this process with his art as well. As a multidisciplinary artist, he integrates the techniques of past influences and different forms of visual arts to challenge how art functions.

You can find Caleb on Instagram: @_yung_cee

Conversation with the Artists: Asia Lae Bey and the Childlike Empress

Personal Essay by Caleb Hickerson written in the opening week of Brendon's Untitled solo show at Bunker Projects

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