C R O W N
Oil Paint on Canvas. 20x30
CROWN
This series of paintings emerged from a critical engagement with Education as Art and Rethinking Contemporary Art and Multicultural Education by Susan E. Cahan and Zoya Kocur. While studying philosophy of art education, particularly the intersections of identity politics and multicultural education, I became increasingly compelled to examine the visual and cultural significance of natural hair and protective styles throughout the African diaspora.
Protective hairstyles—including locs, box braids, cornrows, Bantu knots, twists, and intricately wrapped head coverings—have long existed as expressions of identity, resilience, beauty, and cultural continuity. While these styles serve the practical purpose of protecting natural hair from environmental stressors, they also carry generations of history, innovation, and self-definition. They are visual languages that speak to ancestry, resistance, and belonging.
I have titled this body of work Crown as a tribute to the majesty of natural hair itself. It reaches unapologetically toward the sky, defying gravity while framing the face with strength, elegance, and individuality. The title reclaims a narrative that has too often been diminished, affirming that our hair is not simply an aesthetic choice—it is an inheritance, a living archive, and a crown.
As a Black woman painter and art educator, this work extends beyond personal expression. It is both an act of celebration and an invitation to dialogue. Through portraiture, I seek to affirm the beauty of Black identity while encouraging viewers to consider how representation shapes our understanding of ourselves and one another. These paintings advocate for educational spaces that embrace multicultural perspectives, where diverse histories, aesthetics, and lived experiences are not supplemental, but foundational.
Ultimately, Crown reflects my belief that education is an evolving practice rooted in empathy, curiosity, and cultural awareness. We are all lifelong learners, and art possesses the unique ability to bridge differences, preserve collective memory, and cultivate deeper understanding. My hope is that this body of work inspires viewers to recognize the dignity, complexity, and beauty embedded within Black hair and culture, while contributing to a broader conversation about representation, identity, and belonging in both art and education.
This series of paintings emerged from a critical engagement with Education as Art and Rethinking Contemporary Art and Multicultural Education by Susan E. Cahan and Zoya Kocur. While studying philosophy of art education, particularly the intersections of identity politics and multicultural education, I became increasingly compelled to examine the visual and cultural significance of natural hair and protective styles throughout the African diaspora.
Protective hairstyles—including locs, box braids, cornrows, Bantu knots, twists, and intricately wrapped head coverings—have long existed as expressions of identity, resilience, beauty, and cultural continuity. While these styles serve the practical purpose of protecting natural hair from environmental stressors, they also carry generations of history, innovation, and self-definition. They are visual languages that speak to ancestry, resistance, and belonging.
I have titled this body of work Crown as a tribute to the majesty of natural hair itself. It reaches unapologetically toward the sky, defying gravity while framing the face with strength, elegance, and individuality. The title reclaims a narrative that has too often been diminished, affirming that our hair is not simply an aesthetic choice—it is an inheritance, a living archive, and a crown.
As a Black woman painter and art educator, this work extends beyond personal expression. It is both an act of celebration and an invitation to dialogue. Through portraiture, I seek to affirm the beauty of Black identity while encouraging viewers to consider how representation shapes our understanding of ourselves and one another. These paintings advocate for educational spaces that embrace multicultural perspectives, where diverse histories, aesthetics, and lived experiences are not supplemental, but foundational.
Ultimately, Crown reflects my belief that education is an evolving practice rooted in empathy, curiosity, and cultural awareness. We are all lifelong learners, and art possesses the unique ability to bridge differences, preserve collective memory, and cultivate deeper understanding. My hope is that this body of work inspires viewers to recognize the dignity, complexity, and beauty embedded within Black hair and culture, while contributing to a broader conversation about representation, identity, and belonging in both art and education.