Meet the work of
Jihan A. Thomas
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"I am a Black Woman, daughter, sister, visual artist, aunt, artivist, mother, abolitionist, afrofuturist and community and museum arts educator. I have been facilitating art and culture experiences in the Philadelphia community for over 16 years. My work is inspired by the Black people and our patterns of life.
Themes in my artwork consist of the African American experience, joy, anger, history, rebellion, Afrofuturism, strength, pain, rejoice, power, motherhood, ecofeminism, love and the relationships of womanhood through the Black woman’s anatomy. The power of art is all encompassing. Strengthening self-expression leads to a conversation to further the understanding of self. I incorporate art in all that I do. Art is my air. Art can meet all intersections. Through my artwork and my community art practice I weave my creativity through these approaches. I do my best as a servant to my city and community with my ability to share the power of art." |
The art Jihan has made for our production represents the work of the fictional character, Bill (played by Akeem Davis). The work Bill is making in the world of the play may be considered Social Realism. Here's some information from our dramaturg, Kirstie Floyd, about the art movement that was social realism:
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Social realism is an art movement that flourished in the 20s and 30s after multiple labor movements throughout the world. Pushing back on the avant garde of its time, social realism was about capturing the beauty and resilience of everyday working people - or "the masses." Social realists were known to wear overalls to show class solidarity. In fact, these artists believed that art was a weapon that could fight the capitalist exploitation of workers and stem the advance of national fascism. Although this movement began to dissolve in the following decades, Black visual artists carried this tradition well into the 60s. Running parallel with Kwame Brathwaite's "Black is Beautiful" movement, social realism transformed and evolved to celebrate the multiplicity of Black Beauty and aesthetic of everyday people - from the simplest to the most ornate.
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ABOUT THE ARTWORK
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Tomorrow
18x24 Acrylic on canvas Description I created this piece to close the show. This piece is the visual memoir of Tomorrow. She is emerging as the color of dawn. She is proclaiming "I am all that I am and I am and will forever be tomorrow". This piece incorporates symbols of how Tomorrow "Tommy" describes her upbringing and foundation. Her favorite flowers shown are called 4'oclocks. The cobalt blue color that she is wearing is symbol of the depths of confidence that she holds within. That Black women have to hold within. Price: $600 |
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Time is a Bad White Cat
18x24 Acrylic on canvas Description This image is inspired by Old Timer and how he describes his relationship with hie youth, young adulthood and time. Time is something we cannot stop and that is certain to keep moving. To heed an disrespect how we al have relationships with time is important. "Time's a' waste'n" say Eryka Badu. The aesthetic of this images has a relationship to the cartoon Top Cat that was popular in the 1960's that aired on September 27th 1961. Cartoons like this where the main character are trapped in their circumstance and are always kept in "their" place no matter how hard they try. Who is the "their" in this cartoon? Who are the back alley cats? This visual literacy subconsciously speaks about the class movement of Black and marginalized people. Within this images it speaks to the journey and reflection that Old Timer expands on to Billy. And the 7'Oclock pm is the first time of the opening show on September 24th, 2022. Price: $600 |
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What they say?
18x24 Acrylic on canvas Description This painting is inspired the dialogue and Black vernacular that spans the conversations thought the play. From Harlem slang, to southern twang, jive talk that went from generation to generation. Black Vernacular is a visual language. Language of love and story are all throughout this play. The language for me is also a shade of color in this play. I wanted to encapsulate and share some of the dialogues that felt mountainous. The aesthetic of the colors and lettering ins inspired by a South Side Chicago artist collective called AfriCobra. This Back artist collective were passionate about using vibrate colors inspired by African aesthetic and using text in their art to get out messages of Black Emergency to the masses within the Black and Brown neighborhoods. These would have been some of the artists and art movements during the back Art Movements that Billy would have been creating along side. Price: $600 |
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Wine in the Wilderness
18x24 Acrylic on canvas Description This portrait is inspired by the description of Mother Africa that Billy describes in the play. Billy mentions the Black women contemporary and how she is confident and envougue. I was inspired by the aesthetic of the Back Power beauty Movement of the 1960's and 1970's. I got inspiration for m Black women models such as Monique-Antoine "Mounia" Orosemane. Price: $600 |
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Ain't That the Little Girl From Down the Street?
18x24 Acrylic on canvas Description This image is inspired by the symbolism of what Black Girlhood is as Billy describes it. Old timer saying in the play "Ain't that the little girl down the street?" makes me think about all the little Black girls that were down the street. And that I am was an am that little girl. What if we all cared a little but more about the Black children down the street? I thought about all the little girls coming up in the 1960's and what they would be wearing. My mother was one of those little girls. This little girls is holding a Black day to comment on its importance on how children see themselves in early stages in life. For many of us it's nt dolls however seeing your reflection is crucial. I want the viewer to think about a little Black girl that they know or have met. For many of you. You are that little girl and this one is for you. I see you because I am you. Price: $600 |
