What is your name and age?
My name is Ali and I am 21 years old.
Can you share a bit about your background with us?
My artistic background originates in Savannah, Georgia. I grew up in downtown Savannah which allowed me to soak in a lot of training from professors and programs at Savannah College of Art and Design. Once I graduated I decided to pursue nontraditional education through art residencies in Glasgow, Scotland, Indianapolis, Indiana, and West Palm Beach, Florida.
I started as a painter and illustrator. As I progressed and moved around I worked in high end and non profit gallery spaces. Healing has always played a part in my installation work. While living in Scotland I started an art healing group for terminal hospital patients. Once my visa expired I started a prison art healing group in West Palm Beach before becoming an art handler at the Norton Museum of Art. Now that I am in Chattanooga Tennessee I run my own gallery and studio space in the downtown area. Having my own space has allowed me to try my hand at sculptural installation.
Healing has always played a part in my installation work.
What purpose drives your artwork?
Human flourishing drives my desire to create. I want to harvest spaces which remove people from themselves. I have progressed in the ability to do that through a lot of trial and error.
How would you describe your artistic style?
I pull from a few different inspirations. I’ve never been a super “neat” artist. Some of my favorite artists are Basquiat, Twombly, and an installation artist, Dvora Morag. I’d say I am still experimenting and finding my style, but at the moment it’s almost a “grown up childlikeness.” I use neutral tones, but love to make a mess with finger painting or scribbles.
I’d say I am still experimenting and finding my style, but at the moment it’s almost a “grown up childlikeness.”
What discourages you?
I am discouraged when people are unwilling to step out of their comfort zone even when that suppresses another human. The greatest part about hosting exhibitions and working in art fields is harvesting spaces that force people to let their guard down.
What empowers you?
It is incredibly empowering to reclaim my body and involve it in my art. Plaster casting my own body, painting on my skin, photographing it as it changes, and speaking openly with people about my life experience builds me up. I feel empowered when I do things to display my power over my own body.
On one of your Instagram posts it says that you used to be part of an art healing therapy group for women transitioning out of prison. Can you tell us a bit about that experience?
When I think back on the prison group I get a little weepy. It blows my mind that I was allowed in such a sacred environment at such a young age. I could talk for hours about that experience and the women I met. I worked alongside addiction counselors and therapists to create an art space for women transitioning out of prison. It was an intimidating environment to insert myself into. I had to go through PTSD and trauma training. Women ranged from age 18-65. I grew to truly love the women there.
I became really close to a woman named Dori. She was warm the first day I met her and really helped me to feel like I was welcome. I was never a teacher or in a place of “power”- it was just women supporting women. They were all so selfless. They used to give me fresh produce and write me letters. I constantly think about them and revisit their work.
I was never a teacher or in a place of “power”- it was just women supporting women.
How did your time living in Scotland develop you as a person? What differences would you identify between Scottish and American culture and what things do you admire about each of them? What things do you believe need reform?
Moving to Scotland on my own at 18 was a bold move, but it was also the best move for me at the time. It was incredibly hard for the first four months. It forced me to grow in myself at a rapid pace. I went to counseling for the first time there and really grew as an artist. I had a small art space in a church in the city center. It felt like a golden bubble for a while. I went back to Scotland for the first time since living there in 2020 and it’s still golden.
The main difference I noticed was openness. I tend to be willing to share life with anyone really, whether that’s on the train or on the walk home. I think that was alarming to some people and it got me into some funny situations. I have missed many train stops due to talking to someone next to me.
I don’t feel I’m able to “reform” Scotland. I don’t want to “Americanize” it as a place, but I do think every person in the world would benefit from openness.
The main difference I noticed was openness. I tend to be willing to share life with anyone really, whether that’s on the train or on the walk home.
Who is the most inspiring female you know?
A lot of the women that inspire me are artists and activists. During my current installation I talk about Chanel Miller at least once a day. She is the survivor of the Brock Turner rape trial. Her book Know My Name changed my life.
If you could change one thing, what would it be?
If I could change one thing I would change inequality. I want to push for equal health care, equal validation, equal platforms- all of it, for all genders and races. I am so incredibly fortunate as a white female to have a platform and so many other resources. I’m tired of savior complexes and condescending responses to people in need.
I am so incredibly fortunate as a white female to have a platform and so many other resources. I’m tired of savior complexes and condescending responses to people in need.
Clearly eyes are an important motif in your pieces. What is it about eyes that draws you to use them in so much of your art?
Growing up, people always commented on my eyes. I have a clogged tear duct which always makes me look like I’m crying. I wipe a tear out of the corner of my eye at least ten times a day.
I started illustrating my family members eyes after my own trauma therapy and a familial tragedy because this time I really was crying. There’s so much expression in someone’s eyes. I also believe eye contact is the first way to validate someone. You “see” someone by literally seeing someone.
Your most recent installation is meant as a powerful commentary on sexual abuse in which you’ve casted the breasts of over 200 women (a number chosen in reference to Jeffrey Epstein’s payment of $200 to each woman who recruited other minors to be made victims of abuse). How has this project impacted you as it has developed? How do you hope it will impact others?
Each installation I’ve done leading up to this one has given me tools to handle the emotional impact of this piece. The trauma training from the prison group, my own counseling, and life experience has allowed me to listen to the stories of 100+ women and not insert myself to their trauma. I’ve gone through a lot of personal growth. I feel reconnected to myself and my sexuality. I hope other women experience a small portion of that.
In some ways the installation was a form of closure for me. I was sexually abused from age 14-16. When I heard news about Epstein I was beside myself with rage. He represented everything that was stolen from me, everything I’d been left with while my abuser just lives and walked free. My response was urgent. I had to do something big to nurture my grief.
I know that I am not alone in that urgency. I decided to include other women because so often survivors are dismissed. It’s appalling that it took over 30 years for people to believe or fight with these young women (at the time). This is me getting in front of those survivors in the beginning of their journey. This is me bear hugging and believing womxn. This is me stomping on Epstein’s grave.
This is me getting in front of those survivors in the beginning of their journey. This is me bear hugging and believing womxn. This is me stomping on Epstein’s grave.
If the people reading this retain one thing from your interview, what do you hope it will be?
I hope that people walk away with conviction. I hope they realize that justice and healing are never ending- the fight, the processing, the refining- it all goes on forever. I want people to know that there is always someone out there who will advocate for you and walk alongside you- it just might not look like you imagine it to look.
Where can people find your work and follow along with your artistic journey?
My Instagram is the best way to follow my work, but I also have a website where you can contact me through email or by phone.
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