Publish in A Year In Black Art. Black Embodiment Studios. V.3. 2020. 11-15. Click image to go to page. 
For my second piece for The Black Embodiment Studio's journal, I wrote about Toyin Ojih Odutola's Birmingham (2014), which showcased at The Frye Art Museum in Seattle in 2019. In this essay, I’m particularly interested in how Ojih Odutola uses fine line work in this lithograph series of four portraits.  
My eyes are immediately drawn to the woven skin texture, seeing the lines move above and below his epidermis, seeing the light shine in different directions indicating the top of the curve before they flow back underneath the skin, speaks to how we understand stories of others. The woven lines have dips and arches. The arches, indicated by the lines of white light, are the highly visible stories. The dips, indicated by the flow of the lines going underneath the skin or flowing underneath the climax of another cluster, allude to the “in-between space” where another narrative of her brother can be discovered.

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