We have to be responsible for how we’re remembered. The thing that makes authenticity difficult is that I think we’re socialized around that word. It implies singularity, and of course there’s no singular Black experience. To test the strength or quality of it, you could never do that. It’s not like an element on the periodic table.
I do think as curators of stories it’s really important to try to think about how many intersections you can have within a group of people. So not trying to just have a diverse group, but a really intersectional group where there’s maybe one common denominator, but everyone is coming at it from different vantages. So trying to think about storytelling and presentation of stories that is looking at the ways in which we communicate through a more equitable lens. In my work I’ve been trying to tell the most true version of what I’m thinking and what I’m seeing. And that of course is born from being a Black woman. No way around it. But, I don’t necessarily feel like there’s a particular audience for the things I’m doing sometimes in ways that people might assume. One of the most difficult criticism I’ve ever gotten is that I do what I do for white people.That is simply not what I do. My things are easily categorized or are consumed in particular ways, but for me, it’s just telling the truth that I see the most. I just am so overwhelmed by the amount of Black excellence and creative spaces that I have to tell people about it, but I don’t do that because I want these artists to be seen by a particular audience. It’s just that these people are doing great shit.