
The Black Victorian
Illustrious colours overrun a sea of flowers strewn. Yellow, soft pink, lilac. A young woman poses in the garden in a lovely dress; of powder blue or coral hues. There’s gold in there, too. Her gentleman caller, perhaps her beau, stands not too far in the distance. Aristocratic elegance. There’s blue.
This project unfolded in response to many things: Black women, presence, absence, culture, possibility, etc. It unfolded in what some may consider ‘unusual’. Perhaps only to those who do not hold the truth that Visual art can be entered through any given point. You can enter from its middle, or even its end. The process very seldom adheres to a strict, linear pattern.
Entry
Early last year, a concept for a self-portrait occurred to me. The idea was like a stain. It wouldn’t leave me. It was incredibly personal as it would assist me in communicating my affinity with the colour, Orange (and citrus). More so, how it has served me tremendously in my journey to healing, and to Self. The idea included nuanced hues of yellow paired with a plethora of citrus peels, amassing orange, lime, grapefruit, and lemon. A few days prior to shooting the portraits, it occurred to me the idea would be better served by someone else; someone who does not look like me. I listened and redirected.

Once an idea shifts in such a manner, it demands more. Gratefully, my creative process generally leans on at least 3 of my chosen mediums of expression at a time. For this particular project, it began with poetry and extended into photography and film.
Introduction to Poetry —
The final term of my undergraduate college career comprised two courses: intro to poetry and ethics communication. The former was my first experience with periodical, literary movements since reaching a heightened state of awareness. That is, I took each grain of knowledge entirely in.
During the course of the course — so to speak — I enjoyed the myriad experiences of retroactive connections with thinkers of the past. Many moments of synchronicity, but none more impressed on me than when we began covering poetry, period by period. After Romanticism came the Victorian period. One thing became readily obvious: the absence of the Mother voice. Even more pressing, the absence of Blackness. No black poets were discussed. None. As a Black, Woman, Artist, I sought desperately for something that reflected each aspect of this reality; my reality.

Now the Victorian period is notable for the radically revolutionary changes, socially and culturally. It gave rise to various -isms, including several modes of socialism, Marxism, unionisation, urbanisation, Stuart Hall’s utilitarianism, and feminism. Yes, the Suffragettes – comprised of white women who advocated largely for, you guessed it, white women.
I was taken by the fact the course only covered one woman poet within the Victorian period. In short, it appeared that the prominent women poets presumably reached that space as a result of their relational connection to men poets of the time or prior to that time (Romantics). Robert Browning’s wife, Elizabeth Barrett Browning for instance. Her renowned poem, “How do I Love Thee (Let me Count The Ways)” is often examined on the premise that it was written for her husband.
It pushed me to wonder: what other poetic wealth did she and other women have to offer absent the value it held in relation to the men they belonged to?
Process and Purpose —
Combining my preexisting concept with my renewed interest in literary and cultural periods and the works of Art each produced, I committed myself to seeing this project materialise. It demanded it be brought to fruition!
I began envisioning precisely how the model must look and represent. It took approximately 9 months, but it was well worth the wait once I saw Eve sitting in front of the library on campus. I thought to myself,
there she is!
The Victorian era also birthed one of the most pivotal cultural changes: photography. The first photograph was taken by Joseph Nicéphore Niépce in 1826 or 1827.

The Black Victorian was designed to focus keenly on painting techniques present in the Victorian period. This contrasts heavily with the monochromatic, often ‘bland’ sepia-coloured portraits we are familiar with when referencing the period.
However, there still remains an absence of Black narratives represented in paintings – a process that requires far more intricacy and dedication than that of taking a photograph. More than that, paintings of eras such as Romantic and Victorian are essential in depicting the rich, colourful, and extravagant lifestyles of the people of that period. For the exclusion of Black narratives to be present, it begs for a retrospective portrayal of what could have been.
Notes to Niya –
The decision to extend the project to film occurred just days prior. We had two days planned that were cancelled due to weather conditions. While it stirred anxiety, I understood certain elements still needed time to unfold. It may have been wishful thinking, but it made sense on the day of.


Niya Wells, singer/songwriter and two-time project assistant was an incredible asset. She lead the discovery and use of the location of the shoot and embarked on three shopping trips to ensure we had the colours that corresponded with the desired palette.
When it came to the score, I said:
Niya, I want it to sound like a Soul is crying.
And, she delivered – above and beyond.
Commitment to [the elevation, celebration, and preservation of] Blackness must exist in connection to its reality in spaces past, present, and future. This is a philosophy that informs my approach to Being; to creating. It demands that I must respond to life in a manner that improves the voice, presence, and experience of Black women. This is the lens through which I receive information as well as transmute, translate, and disseminate.
There will be a second edition release to The Black Victorian, TBA!
