Mariah Green | New artbook and interview with the artist.
Preorder the artbook “Mariah Green 2014-2019” Here
“My work expresses the state of the deferred African American dreams. My identity and my art fight against the state of being deferred at every turn in the Eurocentric dominated art world. I translate my life experiences, of being a young black woman, through the beautiful textures and objects relating to the African diaspora. I advocate for people of color to have their work be seen as valid and not looked at as “exotic” or otherized. I aim to change the art world as a gateway towards institutional and social change for African American dreamers.”
Mariah, tell us a bit about yourself:
I am an artist who lives in Hemet California. It’s dry here but I find comfort in finding stories of those I can amplify through painting them. I love working with oil paint, watercolor, and fabrics. My work shows deferred African American dreamers going through the United states systems. I want to make them feel seen and acknowledged.
What subject matter do you find important to portray in your works? What is your biggest source of inspiration?
As of recently I have been recreating photos from the Civil Rights Movements trying to connect the issues then to the issues now. All of the people I choose to paint are black people with eyes that stare right at you begging to be taken seriously. What inspires me most is being able to give light to stories that would have never made it into books or movies. I want to make these people feel seen and documented outside of the system that never addresses them personally.
Do you have any huge influences? If so, who influences your work?
I am not sure who would be my biggest art influence. Hopefully later this year I can answer that. Sorry LOL
How does your identity factor into the artwork that you create, and why is it important to you?
Being a black woman influences my work to only do black narrative paintings, but I admit I have been confronting myself on why I have not painted too many black women. It is important to me to make sure women get represented in my art.
How is your art a form of activism? Give us some examples of how you have recently used your artwork as activism:
There are pieces I am trying to give a message in. “Neoliberalism is anti-liberation” and “Stop Black fetishism” are two specific works that released some steam for me since on social media there is SO MUCH PERFORMATIVITY towards what is happening for the Black Lives Matter Movements. These works are for anyone who needs to see it and think to themselves “what does neoliberalism mean?” And how that is anti-liberation for Black and Brown folk. There are also many messages of activism that I feel I do not get to talk about online but I would love to do that more often. I want everyone in the loop of things.
Do you find that in your community there are many opportunities for black artists to publicly display their artwork? Give us some examples of places you've shown your work, and how the community can provide further opportunities:
Before the back lives matter movement gained more attention recently there unfortunately has not been many opportunities for black artists to display their work. I would love to curate shows that highlight these gems that are not hidden but that have never been sought out even when they are putting their work directly in these institutions' faces. If there was a well funded space dedicated and ran by black artists we would rock the hell out of Riverside. There needs to be an interest in black people to want futures in curating and gallery work. A main reason I recently changed my major from studio art to being an art history major is to make sure that people looking like me are seen is these spaces that purposely neglect their existence. I haven't had my work shown often but in past exhibitions when I first started there was a distance I felt once I had my art up. It usually gets categorized under Basquiat because often that was the only black artist people knew. Kimberly Drew had said that if people walked into these places without feeling the need to “give” feedback but instead to receive. When people start giving the artist advice and putting their work into the black art box it translates over into how white history is told and POC histories are not.They are silenced.
Tell us about your recent feature in RCC Muse, how has that opportunity helped your development as a solo artist? Tell us about that relationship.
RCC Muse has been wonderful and continues to be a platform that supports my work. Elionora Reyes messaged me asking for me to submit my work and a few days before the issue was announced on social media we had an interview. The interview went great and it was my second time doing an interview. I was nervous but Elionora made the conversation go smoothly. They then announced that I was also the cover artist so I was in a lot of shock. With my book I am putting out through Curious and now I am a cover artist and featured artist in the issue I was speechless. All of the people I had the pleasure to meet the day of the book distribution were very kind to me and supportive of the entire book and my art being the cover. It made me feel recognized by the community that I am closest to. Professors and friends I knew came and supported Muse by purchasing a copy. It is still unreal to now have my art be on the cover of Muse’s spring 2020 issue. I thank them for amplifying my voice and the many voices of others in their issues.
What would you say your highest achievement has been to date with your artwork?
I recently did a painting titled “Father's Wishes” with my father in the center blowing out birthday candles and all his eldest children surrounding him. I was explaining to my dad what this work means and how he is a pastor. As a pastor your shoulders are the ones people find aid in and he expressed to me that he finds aid on god’s shoulders. The main reason I made me and my siblings surround my father in the work was like a headgear of protection and blow that when we are older we have strong enough shoulders for him to come to. He raised us to be strong and selfless. He went into a deep cry after reading what I wrote to him about this. This personal moment away from social media was a powerful and my highest achievement to date.
What are some obstacles you've had to overcome to get where you are today, and what do you strive for in the future?
The biggest obstacle was figuring out how to put my work out locally v.s going to Los Angeles to find my voice as an artist. Riversides community artists like Fritz, Sofia, Elijah, and Pavel truly inspire me. They all find the importance in being where they are because it is needed in Riverside is to have artists that are not white and go above the “normalized art world routes”. I am happy to have been accepted into a community of artists that have intention in being local and understanding the importance in that. I strive to remember these moments that I am currently experiencing. I never want to forget the people who helped me be where I am today.
How can one view or purchase your artwork?
For now the best way to purchase is through messaging me on Instagram. My website will be updated soon!!
Upcoming announcements:
My book through Curious Publishing debuts on August 1,2020. Very excited for that to be released. COVID has stopped many plans for me so that is my only announcement.
Shout Outs:
Places and people I want to thank for supporting me:
Urge Palette
Fritz
Elijah
Pavel
Grams BBQ downtown riverside
Sofia bell
Elionora Reyes
Johnathan Baretto
Cheri
Genevieve Valentine
Terry Lincoln
Maurice
Cynthia Huerta
Curious publishing
Rebecca Ustrell
Perron and Maria Vonner
AND MANY MORE
Your call to action: How can we as a community get more involved in amplifying the voices of black artists?
Going out and supporting them if the event is accessible for you.
Make sure not to give a hyper amount of support to them only because they are black.
Get to know their work and reasons why they create.
Say their names when referring to them to others.