
Feminist Future(s) Art Exhibition
Between the Future and the Familiar
Opening night Tuesday May 18th, 2021 8-9:30pm ET
Watch the livestream
Three artists transform seemingly everyday pieces of life—ambient beats, biblical stories and baby clothes. Things we retain such an instinctive familiarity with, we overlook their capacity to change.
However, the origins of a feminist future(s) is already present in the raw materials all around us. Words are waiting to be recast. Objects are restless to be repurposed. The future is here, dormant, just underneath the familiar surface.
With a synthesizer, a pen, and a sewing machine, three artists cleanse the familiar to make way for the future. Maryam Qudus’s electro-punk harmonies and vocal deadpan riffs underscore the exhaustion of injustice. Wairimu (Grace) Mugo’s poetry weaving together girlhood memories, the Book of Genesis, and Earth-based spirituality liberates each thread from the confines of linear narrative. And Krystle Lemonias' collages literally dismantle the very fabric of care work, refashioning old baby clothes into a portrait of her mother, who is also employed as a nanny.
In this backyard, tucked into our virtual secret garden, feminist future(s) are simply the present remixed, reworked, and reimagined. Welcome.

Spacemoth
Devotion to music has driven Spacemoth’s Maryam Qudus (website)—a performer, composer, and now sought-after producer—for as long as she can remember. At age twelve, she traded chores for guitar lessons; at sixteen, she took on after school jobs to pay for voice lessons, learning to drive so she could take herself to both. Qudus is the first-generation Afghan-American child of working-class immigrant parents, who she describes as encouraging, but apprehensive about her earliest creative pursuits. “Afghan culture has informed my identity with so much wonder and beauty, but has also challenged me”. Being a female musician was not common in the Afghan & Muslim community, and women who chose that path received a lot of heat,” she explains. “I did it regardless of cultural acceptance and my family’s approval. I knew if I followed my dreams, I could start breaking cultural barriers—both Afghan and western—and hopefully pave the way for those around me to feel like they could do the same.”
First single “This Shit,” with deadpan delivery, eerie harmonies, and octave-jumping synths (reminiscent of two of Qudus’ favorite projects, Broadcast & Stereolab), was written after the election of “the idiot president,” as Qudus recalls. “An unfolding series of events left me hopeless about the state of the country I live in: women’s rights were in jeopardy, Muslim citizens were barred from entering the US, and Black and brown bodies experienced continual violence at the hands of law enforcement, white supremacy emboldened and legitimized.” Overwhelmed and broken, she wondered, as the chorus goes, “When is this shit gonna end?” Paired with b-side “Who I Was” and stunning visual collaborations from Stephanie Kuse (who, in an homage to Qudus’ love for op art, created the colorful single cover and also the glitchy projections of the music video), it was a strong re-introduction to Qudus as a leveled-up writer and producer.
Spacemoth’s newest releases, “Asking For You” & “For The Last Time,” showcase her love of Devo’s “short-circuited punk rock,” Kraftwerk’s programmed rhythms, and early Brian Eno’s “delicate songs put in a weird frame.” In a Kimber-Lee Alston-directed video for the former, an homage to Daft Punk’s “Da Funk” allegorically works through an intense reality: the fears that women disproportionately carry in a world of omnipresent harassment. The song was written after a teen neighbor of Qudus was assaulted on her block in broad daylight. “You always have to watch your back,” Qudus explains. “When I sing ‘Asking for You,’ I’m asking for people to stop hurting women.”
As an artist who has spent the last decade refining exactly what she loves in music, it’s no shock that the bulk of the performance on Spacemoth songs comes from Qudus herself, who favors vintage synths like the Yamaha CS50 and Korg Polysix alongside tape manipulations, creating unpredictable, stretched out, and springy sound beds. As she continues work on Spacemoth’s first album, she’s excited to take her years behind the boards and reels on other inventive musicians’ projects and apply that experience to her own imaginative songs: “I finally have the skills and knowledge to make the sounds in my head come to life,” she says. “Spending the last few years discovering what kind of music I want to make has been worth it; I feel like I am finally making music that embodies who I am.” From these first few releases, it’s clear Spacemoth is a project with limitless sonic potential, and it’s anyone’s guess what gorgeous, clever songs she’ll turn up next.

Wairimu (Grace) Mugo
Circus
Somewhere in the wild jungle
On his annual excursion down to the West Indies
The ringmaster found me
He wrapped me in his four
no
sixteen inch chain
And told me that he had never had the likes of me in his circus
A wild
African
Hippopotamus
I was amused
Wanted to go back to living my life In my waterhole
Devoid of stale peanuts
And popcorn kernels
But he lured me in there
Made eye contact to assert his dominance
Said he learned it from Animal planet
And when I got to the circus
I found that there were many animals like me
Wild horses from Equator, Bears from the Pacific
Doves from Polynesia
All lured with the same eyes
And the promise of fame in an animal kingdom
And sometime around my 5th month of being there
He had gotten a habit of owning me
Marked prices of my skin as territory
And told me I was the favorite of his animals
And when he showed me off in my cage
And I’d hiss at the audience
The ringmaster would calmly say
“Oh don’t mind her. It’s that time of the month”
But last I checked hippos never got their god damn periods.
And hippos didn’t like the sound of a chains whipping against steel cages
or the way the ring leader used circus show tunes to hypnotize our eyes
But maybe I liked being exotic
Maybe I liked being a thing to be played with
A thing to be manipulated.
And maybe I like feeling looked at for once.
And loved
Even if it meant becoming an animal
Un-American American Girl Doll
When I was 7
I wanted one of those American Girl Dolls
You know,
The ones labeled with names like Kit and Emily
Names I wished were my own
Kit and Emliy didn’t have to worry when their teacher churned out the long African names during attendance
A sound equivalent to metal on a conveyor belt
Kit and Emily were never asked why their hair kinks crooked instead of straight.
And how factory superintendent managed to get their polyester hair so curly
and so rigid
Instead
Kit and Emily only worried about how the sun would hit their painted gold freckles at recess.
Instead
Kit and Emily worried about which accessory out for the American Girl Christmas collection--now 50% with each additional purchase
How I longed to be a doll
How I longed to become silicone
How I longed to have straight red hair down my back and green eyes made of glass
So I thought that if I wore American Girl Doll jeans
Wore American Girl Doll polyester jackets and legwarmers
That I would become 100% made of silicon
And if I was silicon you would see my price tag and barcode
Proving that I was
In fact
A
100% authentic American Girl Doll
Born and raised in a factory in Edison, New Jersey
Maybe if my parents had gotten me that American Girl Doll I wouldn’t have a heart made out of cloth and polyester
Maybe Instead I would be placed on a drawer
And have pasty peach skin
Reminding some little girl that they too can become plastic
That they too can dress and put blonde hydrogen peroxide in their hair
and be made in a factory
But somehow
Remain the the most
Un-American American Girl Doll
to ever exist
H u m a n N a t u r e
Somewhere
On the grand ceiling of the Sistine Chapel
God touches fingers with a Black man
Don’t believe me?
Well I saw it myself
Between the cracked concrete of pale blue paint and ceiling wax.
You see
what happened is that daddy
Pauli and me were going to aunt Lil’s birthday bash
There’s a game we like to play where we race each other to her house
Daddy always said that the first gift god ever bestowed on the Negro was the ability to run
I is small and i is nimble
Our black purple backs rub as we raced each other under a pale blue sky
But then we get thirsty
Daddy says it’s a long way to Lils and looks around longingly
Sees one of those lukward trees that mom uses to make marmalade
He says “ain’t no harm. Ain’t no foul”
And puts his black hand on that yellow fruit
And then a whole chorus of little baby angles emerged from the sky
Then a finger
God himself reached out his hand
Completing the final 4th panel in Michelangelo’s iconographic
But then he was shot
Hit him first in his hand and second in the bottom of his head
And all the paint on the Sistine chapel melted away
The man who shot him came out and yelled at us
Told us we were on neighborhood property and says we were trespassing
But them trees looked like public trees to me
On the streets as plain as daylight
I tell that man that Daddy didn’t steal from nobody
But he said that “stealing is what a nigger do best”
I glance down at Michelangelo’s greatest creation
His blue black body lays helpless in the grass
I cry ceiling wax tears
And pray that one of those little baby angles could carry us all up to heaven with
frescos where man touches still black fingers with God
If I were there
I would ask God Why
We was born dirty
Why we were born to be the scorned children of Ham
When we praise his name in the highest every muggy Sunday evening
And Why a God so fair and so beautiful would make an ugly thing like me
Like us
And not take daddy up and away to heaven or at least tell him to run
Because that’s all a Negro is ever good for
I Eve
So I guess, in a sense, you deserve to be stolen from
After all, you never asked to be tricked by a serpentine
Or to be built by the eyes of man
But still
you did it
After all
what is a rib?
if it only turns into weak flesh of sin in your left breast
And you
Who once lied in the Garden of Eden
Who once believed that you had the ability of deities
Was knocked out of Heaven
only to be reborn a woman
This time
it was my left rib that was stolen
A new genesis marked with the touching of breasts and genitals
sometimes
when I lie awake in the garden of Eden
I wonder what Eve would have done if she’d known
If the serpent had told her that she too would be cursed to walk the Earth with no legs
Dragged by the arms of man
Clad in snake skin and sins
If she knew that I would become like her too
Alone
Stolen from
Like the way Adam first took the apple from her palm and ate it
But I guess she deserved it
Because sin first entered the world through woman
Paintbrush
Who told you that Black is the color of scars?
A universal symbol of all that is dark and evil
Is that what they told you when they took our land and sold our bodies?
You see
If you cut open the Earth
The Black obsidian would condense on the skin of your right hand
Showing you that we are both raw and beautiful
Was the first man not made from the Black Earth itself?
When the Great White God first made Adam from the dirt
He saw his Blue Black body
And marveled at it’s god-like image
The Black ink unto which the very stars are made of
This is why they told us we meant nothing
Because they knew that gold runs through our blood
This is why the told you that Black is the death of color
When all of life itself begins in our veins
We were life before they knew what life was
Was Adam not formed from the very Blackness of my skin?
We were beauty before they knew what beauty was
Which is why they taught us exactly how to hate ourselves
When it’s their white bodies that come from our continent
So here I am standing where an ocean meets the horizon
So here I am standing where a planet meets a universe
Where my breasts meet my ribcage
Matter itself comes from my left finger
I create whole Earths and planets anew
from my Black nothingness
The parting of my thighs created the birth of Deities
I am the blueprint
Sacrilegious in all my right
I am the blueprint
I hold the paintbrush
So how can I believe I am not a god
When life itself begins from my Black Body
Wairimu (Grace) Mugo (website) is a high school senior in Austin, TX, and a 2nd generation Kenyan-American immigrant. She has been creating art and writing poetry for as long as she can remember. Many of the themes she focuses on in her art and poetry have to do with race, gender and social issues, exploring how these elements play out in everyday interactions. For her art, social justice, and STEM are interconnected. In her free time, she enjoys obsessing over various topics such as cinema, vintage fashion, painting and anime. Grace is an incoming freshman at Brown University this fall, where she plans to major in computer science and Africana studies.

Krystle Lemonias
Yuh no see say Him hungry?
Eeh, hole still!
Go play wit yuh toys till I done.
Krystle Lemonias (website) is a Jamaican born visual artist influenced by the intersecting concepts of class, race, gender, economic inequity, citizenship, and labor rights. Immigrant Black communities contribute richly to the United States' cultural diversity and the workforce despite the barriers faced. These works explore men and women’s domestic labor contributions that play an integral role in the function of our society and contemplate the domestic socialization passed on through generations to do these jobs.
She uses found materials, patios, and iconography to stitch together these themes with personal narratives. Her works have been exhibited at Blum and Poe in the Show Me the Signs campaign for #sayhername, the New York Academy of Art in the AXA Art Prize Exhibition in 2020 and at the International Print Center of New York in the New Prints: Umbra in 2019. She acquired a BFA in printmaking from New Jersey City University in 2018 and is currently a Masters in Fine Arts candidate at the University of South Florida.

Exhibition curated by Laura Yona Zittrain + designed by melissa teng