ATLANTA – Passengers coming and going through the Hartsfield-Jackson Atlanta International Airport will have an opportunity to view Southeastern tribal artwork in an exhibit called “This Land Calls Us Home: Indigenous Relationships with Southeastern Homelands.”

The exhibit is presented by the General Board of Global Ministries of the United Methodist Church, and features more than 60 works by 26 artists. The 10 Cherokee Nation artists included in the exhibit are Vivian Garner Cottrell, Roy Boney, Jeff Edwards, Bill Glass, Tonia Hogner-Weavel, Steven Morales, Carolyn Pallett, Tama Roberts, Ronald Mitchell and J. Ross Davis. 

The exhibit seeks to amplify Indigenous voices and increase public understanding of contemporary Native identity and experience, according an ucmission.org press release. 

The featured artists are descendants of the Indigenous peoples historically tied to the region where the exhibit is located. 

“Talking with visitors to the country, they think that the Indigenous people are no longer here. When they see the exhibit, I think they’ll take away that we’re still here. We’re still practicing our culture and still have our knowledge of our ways continuing,” Cottrell said. 

Cottrell, a Cherokee National Treasure for basketry, has two river cane baskets on display. She learned to weave baskets from her mother using white oak, honeysuckle and buck brush materials.

Roy Boney said it’s neat to be a part of this process and show art by tribes that are indigenous to the area.

“It was pretty neat to be a part of this process because when I first heard the idea of an airport show, I didn’t know what to think. But the organizers put together a pretty good concept and they have some pretty good artists in it,” Boney said. “They contacted some Creek artists, Cherokee artists, Chickasaw, some Caddo, you know, just some different Southeastern tribes who have a historical connection there. Atlanta is in the southeast; that was the site of a lot of tribes that called that area home.”

Boney’s art in the exhibit is a digital piece inspired by the chunkey game. He uses digital, watercolor and other mediums in his work, and is inspired by Cherokee history, culture and language.

“You’ve seen some of the gorgets with the chunkey players on it. It’s that image but its been updated and it’s a guy wearing tennis shoes and a hoodie. The idea is that we’re still here as a people and we continue these kind of games and traditions,” Boney said. 

The exhibit is located in the gallery space of the Concourse T North terminal and opened Nov. 6 and will run for one year. To view the full collection visit umcmission.org/thisland/.

This new exhibit at the Tacoma Art Museum examines the close aligned relationship between non-Natives and Natives alike through portraiture.

The Tacoma Art Museum is currently showcasing the “Native Portraiture: Power and Perception” exhibit. It features several portraitures of Native Americans that range from classic western artwork to contemporary pieces as recent as 2017. While historically Native artwork is typically reflective of the U.S. western landscape, the museum says that it wants to break this stereotype by featuring more contemporary artists, particularly ones in the Pacific Northwest.  

“Western art is laden with images of Native Americans that range from recordings of direct observations to highly romanticized, invented images,” the museum states on its website. “Yet many of these paintings are made by non-Native artists. What is communicated when an outsider portrays someone from another culture? How are these depictions different from when a person connected to a culture shares an individual or collective experience?”  

When you walk into the exhibit, you are met with an enormous colorful oil-painted portrait of a Native American buffalo hunter. It mixes navy blues to create a darkened hue background with outlined black horses. A white ambiance shaded with strong brush strokes amplifies the figure in front. The Native with pale beige skin and dark long hair poses. He is wearing a white beaded necklace and small circle earrings. He has a traditional feathered headdress which distinguishes him from other tribes.  

He is a member of the Crow Nation, which is known for having an enduring relationship with horses. Artist Kevin Red Star depicts the strong connection this buffalo hunter has with horses. Not only are horses a crucial part to their tribe’s well-being, this specific breed is important to track down buffalo to kill. The warm copper colors draw your attention to the figure’s body. The face is marked with white vertical lines that represent the figures significance to the tribe.  

The artist Kevin Red Star has painted many other notable Native artworks including “Chief and his men,” “Counting Coup,” and “Crow Indians – Small War Party Departing” to name a few. He is a member of the Crow Nation and has made several artworks that are shown in dozens of galleries across the U.S. 

Across the gallery from Kevin Red Star’s work is another portraiture titled “Taos Indian Chief” by Ernest Blumenschein. It is a depiction of a Plains Native American wearing a large red and turquoise feathered headdress. The picture is cropped and cuts off below the shoulders. We only see a glimpse of the red cloak he is wearing on top of his shoulders, but not what he is looking towards. It’s a classic western depiction of Indigenous people. The tan skin with classic Native attire. In comparison to other contemporary works at the exhibit, this one sticks to historical western style.  

Typically, Native American artwork was painted by non-natives. George Catlin, a lawyer, author, painter and traveler was considered by many to be the most notable for depicting Native figures. One of this most famous works “Wah-ro-née-sah, The Surrounder, Chief of the Otoe Tribe” is an 1832 portrait that is currently housed inside the Smithsonian American Art Museum. It used dark hues and oversimplified textures. The colors blend seamlessly together and create a realistic appearance of the Native.  

Many pieces of art at this time during the 1800s focused on creating idealistic depictions of people. It wanted to give the viewer an alluring experience of the artwork. Rather than reflect the intricacies and details of the subject, the inspirational and romanticized thoughts of the subject were reflected. As revered as Catlin was for his innovative works depicting Indigenous people, he was also highly criticized for his lack of awareness and overall attention to the Native experience and perspective. Through the romanticized appearance of Natives, he missed the true experience of their lives and messages they were revealing.  

While many classic style art pieces reflect this similar idea, it is still a significant addition to the Native tribes. Several of the art pieces depict Natives in western, classic, contemporary and abstract. They all give a voice to an often overlooked group of people in the U.S.  

The works depict several Indigenous tribes such as the Navajo Nation, Apsáalooke Nation, Pyramid Lake Paiute Tribe, Apsáalooke Nation, and much more.  

If you would like to view any of these paintings, you can visit the Tacoma Art Museum Wed-Sun from 8 a.m. – 5 p.m. The “Native American Power and Perception” exhibit will be on display at TAM until March 17, 2024. Thursdays are open and free to the public, otherwise, you can purchase tickets in person or online through their website at https://www.tacomaartmuseum.org. 

Beyond the celebration of design and artistry, this collaboration aligns with The Plated Project’s noble mission to combat hunger through art. A remarkable 6,000 meals will be donated to the needy said to illustrate Lamborghini’s commitment to social responsibility.

Sharad Agarwal, head of Lamborghini India said, “As we celebrate 60 years of Lamborghini’s relentless pursuit of excellence, we are delighted to join hands with ‘The Plated Project’ to create a truly exceptional art showcase, ‘Shadanga’. This initiative not only pays homage to our iconic brand but also contributes to a meaningful cause.”

The ‘Shadanga’ project is not only beautiful to look at but also showcases how art can be used for the good of humanity. The addition of Indian heritage only adds to the celebration.

Christmas came early for multi-platinum-selling country artist and American Idol winner Scotty McCreery.

On Sunday evening, the 30-year-old North Carolina native with five No. 1 Billboard Country Airplay chart singles was invited to join the Grand Ole Opry by Garth Brooks during the Opry’s annual “Country Christmas” show.

“Merry Christmas,” Brooks said after walking onstage and handing McCreery a wrapped gift.

“This is a Christmas present to the Grand Ole Opry. We would love to invite you to be the newest member of the Opry.”

“Holy cow. Yes, I would love to,” replied a stunned McCreery.

A longtime Brooks fan, McCreery noted to the crowd that as a frequent Opry performer who had not yet been offered membership, he “didn’t think that dream would become a reality.”

“When I got started doing this people asked, ‘what are your goals,’ I’d say ‘one day I’d like to be a member of the Grand Ole Opry.'”

McCreery then bent down and filled with emotion, touched the circle of wood in the Opry’s center stage.

A professional performer for half of his life, the longtime fan of artists including Brooks, Ronnie Millsap, Randy Travis and Conway Twitty is an avowed classic country fan who told The Tennessean in 2021 that above all else, he loved to “tell stories through a country song.”

His most recent hit, “Damn Strait,” pines after a relationship primarily based around a shared love of “The Chair” performer’s catalog.

McCreery sings, “Damn Strait, I used to love your songs/ But now every time that one comes on/ My heart gets broke in half.”

“We’re thrilled to extend this much-anticipated invitation to our friend Scotty,” said Opry Executive Producer Dan Rogers.

“Whether he’s on the Opry performing his hits, putting his spin on some old favorites during a performance on one of our Opry Country Classics shows, or offering a holiday set as he did tonight, Scotty consistently delivers and is always at home on the Opry stage. It’ll be exciting to hear the words’ Scotty McCreery, you’re a member of the Grand Ole Opry!’ in the early days of 2024.”

McCreery’s induction date will be announced soon.

Brooks has been busy not just downtown at his new Friends in Low Places honky-tonk, but in ushering in a new era of male crooners as Opry members.

Six weeks ago, chart-topping “Last Night Lonely” vocalist Jon Pardi was officially inducted into the Grand Ole Opry by Brooks.

“This is me and you joined in holy matrimony shared by our love of country music,” said Brooks as he handed the California-born crooner the official Opry member award.

McCreery’s induction raises the total of Opry inductions since March 2020 to 13 Opry membership additions. Not since Willie Nelson and Connie Smith were among a septet of 1964-65 inductions have the Opry’s cast numbers grown so significantly in such a brief period.

For more information on the Grand Ole Opry, visit http://www.opry.com.

For big-mountain skier Connor Ryan, skiing is a deeply spiritual experience. As a Hunkpapa Lakota Native American, he believes the mountains themselves are alive with spirits, along with the spirits of Indigenous Utes who inhabited them for centuries before miners came to Colorado in the 18th century.

When Ryan climbs and skis big peaks blanketed in backcountry powder, he sings prayers in his Native language while hoping non-Native skiers and snowboarders understand the need to respect the mountains even as they use them for recreation.

“The ski industry, and the outdoor industry, they need to reconcile with the fact that this whole industry happens on Native land,” Ryan said in a ski film he made in 2022 called Spirit of the Peaks. “They are places that have been deeply related to Indigenous people for so long, and there’s not blame in that statement, but there is responsibility that’s needed on the other side.”

Ryan’s film was produced in conjunction with NativesOutdoors, a Native-owned creative and athletic collective that also has been involved in initiatives with Winter Park Resort, Ryan’s home mountain. Through the collective, Native skiers and artists worked to create art pieces installed on the mountain this year that reflect awareness of the area’s Native heritage, connection to the land and ecology.

At the summit of the mountain is a new monument with a pattern created by Native artists Jordan Craig and Vernan Kee. It depicts prominent mountains in four directions — Longs Peak to the north, Parry Peak to the east, Mount Blue Sky (formerly known as Mount Evans) to the south and Byers Peak to the west — along with a river flowing from them. On the monument is one Ute word, Heniiniini, which means “There is snow on the ground.”

Elsewhere on the mountain, a new snow stake incorporates the same four mountains, rivers flowing from them, and a snow measuring stick with a Native artwork pattern.

“I wrote the initial vision statement as someone who knew all the artists who were going to be working on it, but also as someone who closely knows the community of Winter Park and tried to find that intersection of where the work of the artists and the community intersect,” Ryan, who grew up in the Front Range, said in an interview.

“I do a lot of other work with (Winter Park) to get Native American folks up to experience the mountain through skiing. Less than half of a percent of skiers, according to Snowsports Industry America (an industry trade association) are Native American or Indigenous,” he said. “Increasing that representation starts with having a reflection of ourselves be visible on the mountain, but also the other work Winter Park does to be more accessible to people of all backgrounds.”

Two years ago, Winter Park issued a statement saying it “acknowledges and honors that the land on which we operate today is the traditional and ancestral homelands of the Nookhose’iinenno (Arapaho), Tsis tsis’tas (Cheyenne), and Nuuchu (Ute).” That statement also pledged, “We reaffirm and recognize that connection both through our words here and our actions.”

Reverence for the land reflected in the new artworks on the mountain also is a call to environmental sensitivity. Snowmelt at Winter Park drains into the Fraser River, which feeds the Colorado River not far from its headwaters in Rocky Mountain National Park.

“All that snowfall is going to provide life to countless ecosystems and communities between here and the Sea of Cortez,” Ryan said. “People through skiing are getting connected to the snowpack, to ecology, and realizing a lot of the things that Native American people have valued about these landscapes for a really long time. To me it’s a place where we can find that commonality around conserving and protecting what is valuable, and at the same time for Native American folks, it represents a potential economic and career space for our people to be in that is more in line with our cultural values. Recreation is far more sustainable than extractive industry.”

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MINNEAPOLIS/ST. PAUL (12/04/2023) — If you plan to follow the “four-gift rule” this holiday season — something they want, something they need, something to wear and something to read — experts from the University of Minnesota Libraries recommend choosing books from a wide range of new releases. 

Lisa Von Drasek, curator of the Kerlan Collection of Children’s Literature, shares book suggestions for the young people in your life. Malaika Grant, arts, humanities, and area studies librarian, shares great adult gift ideas.

Lisa Von Drasek

“We are Branches” by Joyce Sidman and illustrated by Beth Krommes

“‘Branching is nature’s most efficient way to spread something…from one central spot over a large area.’ The blood in our body branches out from arteries to veins and back again. The bones of the fruit bat branch from arms stretched in wings to their fingertips. And colorful coral branches skyward under the oceans and seas. Science writer and poet Joyce Sidman pairs again with artist Beth Krommes to create an intergenerational picture book treasure of factual information that is a joy to read aloud.”

“I’m From” words by Gary R. Gray Jr. and pictures by Oge Mora

“We follow a community of children dancing through their day as a Black child joyfully announces that they come from ‘early morning wake-ups, handcrafted blankets knitted with memories.’ All is not perfect but resilience and strength are expressed through Gray’s straightforward language and Mora’s celebratory collage illustrations reminiscent of the work of Ezra Jack Keats.”

“Paul Bunyan: The Invention of an American Legend” by Noah Van Sciver, Marlena Myles and Lee Francis, IV

“Many may believe the story of Paul Bunyan is a tall tale about a goofy oversized lumberjack and his sweet companion, Babe the Blue Ox. They would be wrong. Paul Bunyan was an invention of the timber industry whose goal was the clear cutting of indigenous lands. Noah Van Sciver with a team of experts, Lee Francis, IV, (Pueblo of Laguna), Marlena Myles (Spirit Lake Dakota/Mohegan/Muscogee), Dr. Deondre Smiles (Leech Lake Band of Ojibwe) present the true story of loggers, propaganda and the land. The cartoon graphic format and original art by Myles with additional archival materials have created an accessible and layered factual history for all ages.”

Malaika Grant

“The Comfort of Crows: A Backyard Year” by Margaret Renkl

“A wonderful gift for gardeners, birders, and nature lovers, Renkl’s book of 52 short essays is designed to be read over the course of the year. She reflects mostly on observations of the flora and fauna in her own Nashville garden, but this is also a memoir of the seasons of her life. Featuring 52 unique color artworks by the author’s brother, Billy Renkl, ‘The Comfort of Crows’ is a lovely and profoundly touching book from an insightful observer of the natural world.”

“The Creative Act: A Way of Being” by Rick Rubin

“Rick Rubin, co-founder of Def Jam records, winner of eight Grammy awards, producer of legendary musicians Jay-Z, Adele, The Beastie Boys, and many more, is a renowned artist with much wisdom to share. This is a treatise on what it means to be an artist, a contemplative guide on enhancing creative abilities, and a meaningful and useful gift for anyone on a creative path. Rubin underscores the notion that everyone possesses artistic potential, offering mental frameworks for both unleashing creativity and surmounting obstacles. It is the sort of book one will revisit over the years for inspiration and to revisit favorite musings such as, ‘artists allow us to see what we are unable to see, but somehow already know.’”

“Project 562 : Changing The Way We See Native America” by Matika Wilbur

“In this work of art and beautiful gift, Matika Wilbur, a renowned photographer and storyteller from the Swinomish and Tulalip Tribes, documents members from the 562 federally recognized Tribal Nations across the United States. Utilizing ‘indigenous photography methods,’ she prioritizes relationships and storytelling to capture hundreds of stunning portraits and compelling personal narratives of contemporary Native people, photographed in clothing, poses and locations of their choosing. Wilbur honors and celebrates the vibrant tapestry of present-day Native American life and cultures to achieve the goal in her title, truly changing the way we see Native America.”

Malaika Grant is the librarian for African American and African Studies, Cultural Studies and Comparative Literature, and English at the University of Minnesota-Twin Cities. Grant is also the selector for the Robert and Virginia McCollister Collection for Contemporary Literature and the Libraries’ online popular reading collection available through the Libby app — both collections include current literary fiction, non-fiction, biographies and graphic novels.

Lisa Von Drasek is the curator of the Kerlan Collection of Children’s Literature. The Kerlan, an internationally recognized resource in the field of children’s literature, contains six core collections and several smaller collections. Von Drasek has lectured on the topics of Writing Boxes: The Reading/Writing Connection in Libraries, Emergent Literacy, Diversity in Children’s Literature, Comics and Literacy, the New Adult, What Makes an Award Winning Book, and Children’s Choice Awards. She also conducts community workshops on creative writing, reading aloud and selecting books for children and young adults.  She is the author of “Writing Boxes: The Reading/Writing Connection,” a compendium of book suggestions and writing activities for the classroom, library or home.

About “Expert Alert”
University of Minnesota experts can provide commentary, insights and opinions on various news topics. Find selected experts on the University’s Experts Guide or send requests to [email protected]. 

About the University of Minnesota Libraries
The University Libraries is a strategic resource of the Twin Cities campus and also provides integral information system support for the University’s four campuses in Crookston, Duluth, Morris, and Rochester. Composed of 12 library facilities with collections of more than 8.1 million volumes — and with special collections valued at nearly $1 billion — the Libraries has a history of strength in research collections and a longstanding record of contribution to resource sharing within the state and beyond. Learn more at lib.umn.edu.

Ethan Garrepy began doing drag with a $10 Target face paint palette, an old Halloween wig and a lot of time on their hands during the COVID-19 quarantine. Three years later, the 19-year-old UF musical theater sophomore is one of many artists and performers who make up Gainesville’s flourishing drag scene. 

On Nov. 16, the United States Supreme Court refused the state of Florida’s request to re-enact a law punishing businesses for allowing children into drag shows. Artists like Garrepy are taking the opportunity to celebrate the rare legal victory, which follows a flurry of Florida anti-LGBTQ laws passed over recent legislative terms.

Under the Protection of Children Act, filed in the Florida Senate March 2 and signed into law by Gov. Ron DeSantis May 17, the state could fine, suspend or revoke the license from any business that admits a child to an “adult live performance.” 

Although the bill does not mention drag shows explicitly, its definition of an adult live performance as including “the lewd exposure of prosthetic or imitation genitals or breasts” has levied criticism for targeting drag performance.

The bill’s House sponsor, Rep. Randy Fine, R-33, announced the bill would “protect our children by ending the gateway propaganda to this evil — ‘Drag Queen Story Time’” in a Facebook post in March.

Florida restaurant successfully sues state

Hamburger Mary’s, an Orlando restaurant that has hosted family-friendly drag events since 2008, filed a suit against the state of Florida, DeSantis and Secretary of State Melanie Griffin over the law one week after it went into effect. The law is unconstitutional under the First Amendment and portrays drag as a public nuisance rather than an age-old art form, the restaurant claimed.

U.S. District Judge Gregory Presnell sided with Hamburger Mary’s June 26 in a ruling that blocked Griffin from enforcing the act. 

Florida already has obscenity laws giving it the power to protect children from indecent shows, making the Protection of Children Act unnecessary as well as expression-stifling, Presnell wrote. Florida appealed the District Court’s judgment to the Eleventh Circuit, where it remains pending.

The state of Florida also appealed to the Supreme Court to keep the law on the books during the appeal process. The Supreme Court denied this request in a brief ruling that emphasized its decision had nothing to do with whether the law itself was unconstitutional.

The Supreme Court voted 6-3 against the state, with dissenting opinions from Justices Clarence Thomas, Samuel Alito and Neil Gorsuch.

Gainesville drag artists celebrate victory with caution

For Garrepy, the ability to attend and perform drag shows isn’t just a freedom of speech — it’s a freedom of protest. To be out, proud and performing in the U.S. has long been considered an act of rebellion by those in the queer community, they said. 

Aside from showing off their own drag looks on social media, Garrepy often attends shows at Gainesville’s pre-eminent queer nightclub, The University Club. Gainesville’s vibrant queer nightlife, including UC performances and even weekly drag shows at the new Libby’s Grog and Grill, makes it a uniquely safe environment for queer artists, said Garrepy, an Orlando native. 

“I was told a lot of things coming here [for college] like, ‘Oh, Gainesville is completely empty, Gainesville doesn’t have anything going on,’” they said. “The people that were telling me that were like, straight jocks … but I’ve been able to find an awesome queer community here.”

Garrepy feels cautiously optimistic following the Supreme Court ruling, they said. But people are stubborn about the issue on both sides, and it’s hard to know what will happen next, they added.

“Republican politicians are completely wanting to shut out drag as an art form, not only just in Florida but across the U.S.,” they said. “And queer people, queer activists are fighting every day to make sure that we have a spot at the table.”

Christina Guiriba, the 37-year-old founder of the first-ever sleepaway summer camp for transgender and nonbinary kids, has seen the worrying effect of recent legislation on LGBTQ+ youth, she said.

“I absolutely hate that they’re having to hear that they shouldn’t exist,” she said.

Guiriba lives in Jacksonville but performs every Thursday at the UC under her drag stage persona Faith Taylor. She also worked as a cast member at Hamburger Mary’s for 10 years and remembers seeing many young people at her shows, she said.

“I know the joy that it brings them to see just another LGBTQ person that identifies on some level with who they are,” she said. “They get so cheery and so excited and bright when they come to the shows, and I hate that they’re robbed of that.”

As a transgender woman, beginning to perform in drag as Faith was how Guiriba realized part of her was missing as a young person, she said. The law could prevent young people from recognizing drag as a potential creative outlet like she did, she said. 

Guiriba is glad Florida judges are seeing the law as the violation of rights that it is and views any victory — temporary or not — as a step in the right direction, she said. She’s hopeful courts will continue to see the law’s defects, she said.

Legal experts doubtful about the law’s future

Any law targeting a specific type of speech the government dislikes is subject to the highest level of constitutional scrutiny, said Lyrissa Lidsky, UF Raymond & Miriam Ehrlich chair in U.S. constitutional law.

“Just from my own perspective as a First Amendment lawyer, this law is pretty clearly unconstitutional,” Lidsky said.

By driving certain content out of the marketplace of ideas, the law could scare businesses from performing drag at all for fear of criminal liability or — in the case of restaurants — losing their liquor licenses, she said.

The definition of the banned “adult live performance” is vague, so businesses won’t know whether or not their performances violate the rules. But if the government tries targeting certain ideologies more explicitly, First Amendment challenges will pop up in retaliation, Lidsky said.

“One of the best arguments about these laws came from Dolly Parton,” Lidsky said. “Her argument was, under a lot of these drag ban laws, her performance would be banned.”

The preliminary injunction against the law could send it back up the appeals ladder, during which more evidence could come out at trial and more appeals could occur, she said. But the more reasonable step for Florida would be to go back to the drawing board rather than litigating a poorly drafted law, she said.

The law is still in Florida’s Eleventh Circuit U.S. Court of Appeals. The state of Florida filed its brief Nov. 24 and its appendix Dec. 1. The appeal is still awaiting its final verdict. 

Contact Zoey Thomas at zthomas@alligator.org. Follow her on Twitter @zoeythomas39.

Conversation with Elgin Smith

“For me, I’m extremely excited about having this show,” said Smith. “So, coming to the MCA, it’s been something that has been on our minds about trying to make happen if we could. So, it’s so great that it’s finally here now. So, I’m super excited about that.”

Smith, a St. Louis native, is the son of an artist who started his journey with comic illustration at the age of five, when he drew his first five-page comic titled The Big Ninjas. Smith would continue this artistic passion at age 13, when he designed a mural by himself and created a comic book titled Electro Kid. This comic was created collaboratively with a peer who previously fought Smith; the two eventually became friends.

“After that [the fight], I realized that me and that dude both like to draw,” Smith recalled. “And I was like, ‘Your drawing is kind of dope.’ And he said, ‘Yours is too.’”

“A lot of Black superheroes actually have electrical powers,” Smith added. “I think maybe Black people, especially Black youth, have an affinity with electricity. Because it’s one of the few things that we’re heavily into, like having powerlines through your cheeks when you throw your sneakers on. Maybe there’s a correlation between that, I don’t know.”

Later, Smith’s mother would enroll him in an entrepreneurship program. During this time, he would attend family reunions and drew caricatures of family members. When he reached grammar school, he encountered a gentleman who would launch his passion to a new level.

“I went to start selling my posters and stuff, I was coloring everything,” he said. “From there, there was a guy who bought my art; I wish I can remember his name. There was a dude who came up and he was like, ‘Brother, can I show your art in my talk today?’, and I was like, ‘Sure!’ I was still in middle school. He held up my art, I remember he bought the female equivalent to the Electro Kid which was Electro Girl. And he was like, ‘This is what I was talking about. This young man is selling this, and we need to invest into young people like this.’ And that changed my life.”

Despite being a successful young artist, Smith dealt with a tumultuous period of ruthless bullying by classmates. He would use this pain as a catalyst for creative projects, as well as an outlet, as Smith got older.

“It was bad,” he recounted. “It would get to the point where I was getting stabbed with pencils and all of that kind of stuff. I actually made a comic book after that based on that experience called The Shmo, where that dude had the power to change to any superhero as long as he had like a comic book of that person on him, and he would get those powers. I did it actually when I was in college. There was a scene where The Shmo was getting beat up and bullied by everybody. He’s just taking focus on drawing comics and stuff like that. And it was kind of like a real-life experience.”

Smith then attended Central Visual and Performing Arts High School, and found mentorship in his former teacher, William Perry, who led him in a unique direction for his artistic practice and career.

“Shout-out to Mr. Perry,” Smith added. “He helped to really steer my career. He would take me to the art museum and helped me out with my portfolio. And that got me into SAIC.”

Prior to graduating from high school in 2005, Smith had received over $40,000 in scholarship funds from different colleges and art institutions—this was the highest amount in his alma mater. He arrived at the School of the Art Institute of Chicago the following fall. Smith released his comic book titled Choi during his time at SAIC, visiting South Korea for research and inspiration. In 2009, he would complete his bachelor’s in fine arts with a focus on graphic illustration and sculpture.

“I wanted to challenge myself,” he said. “I stayed there all four years. I was an RA (resident assistant) and an orientation leader. And that kind of handles the journey from St. Louis to Chicago.”

Smith landed a job as an assistant for renowned sculptor Theaster Gates, and later received an opportunity to give back to his community as an art instructor at the Gary Comer Youth Center, teaching the basics of fine arts to youth of color.

“They were short-staffed,” Smith added. “A friend of Theaster’s reached out to him and said, ‘Hey, we’re short-staffed here [Gary Comer Youth Center]. We can use another teaching artist. What about that guy that works for you? Do you think he would be interested in teaching?’ And then, that’s how I got that job.”

For the next 14 years, Smith taught art at other local nonprofit organizations; he even taught cartoon and anime design at Columbia College Chicago, an institution that offered him a scholarship while he was in high school. Smith also revised workshops and developed curriculums at Northwestern University School of Law for the Know Your Rights program, which focused on empowering youth to know their rights and protect their rights. Smith has devoted much of his time to teaching art to incarcerated minors.

“I love youth,” he said. “And youth work is so important.”

In 2012, Smith’s love for comics sparked the idea to co-create a convention for all comic enthusiasts, especially those of color—that’s when Pocket Con first came into existence.

“Back when we started the convention, I used to teach at the Gary Comer Youth Center,” Smith said. “That’s actually where the name of the convention comes from. Like from “Pocket Town” in that area of 75th and South Chicago. And back during that time, I was teaching a comic book illustration class. I was asking a youth like, ‘Hey, do you know any comic book heroes of color?’ And after doing like a self-portrait project, all of the kids were drawing themselves as white folks. When I asked them if they know any characters of color, one student said ‘Batman.’ He said it because his suit was black. He didn’t identify any other characters that they could think of that were Black superhero characters.”

“I have been going to different conventions. And shout out to Turtel Onli, who used to run the Black Age of Comics at the DuSable Museum of African American History, they would have a table there. And when I went there and I was just like, ‘Yo, this is really dope. But I would love to see this happen on a larger scale.’ And that’s where Pocket Con came from.”

Pocket Con includes music and dance performances, workshops, panels, video gaming setups, and costumes. Phenomenal artists such as Turtel Onli, Maurice Buckley, Lenny Alves, Ramel Hill, Andrea Pearson, and Robin Carnilius will be attending this event. The Microphone Misfitz, Rai Musica, Jovan Landry, Electric Mothership, and Juke 4 Liberation will be the musical guests.

“It’s all been a diverse event and whatnot,” Smith added. “It’s going to be super-diverse even with our artists that we chose this year, which is what I am super excited about too.”

Pocket Con is a haven for anyone who admires the stories and graphic illustrations of comic books, regardless of color; that’s what Smith wants to create by giving people from all backgrounds a space to celebrate their love of comics for an entire day.

“We want to make sure that the demographics are as balanced and diverse as possible,” he said. “We want to make sure that there’s a large amount of female artists too. We want to make sure that the comics reflect the community that I live in, and you live in. It is a celebration of creators and characters of color because we live in a world of color. I want to make sure the convention reflects that, and that’s also going to be reflected in the artists.”

Find the full schedule and more on the event page.

All seven of Gregorio Cachi’s daughters followed him into making jewelry. Now many of their children are involved, too.