Artist Statement
My first encounter with a racist object was in a small antique shop in Maysville, KY. As I held the seemingly harmless artifact, a sense of unease crept over me. It wasn't clear if it was the vacant eyes, the "too eager to please" cherry-red smile, or the monotone, black skin that unsettled me. Yet, it soon became evident: it was a mirror. The horrifying truth struck me as I saw my reflection—a mockery of myself, but myself nonetheless.
Since that unsettling experience, I've become intrigued by these "mirrors" and their roles in history and our collective psyche. These all-too-common objects have been used throughout history to craft a narrative, a storyline for Black America to identify with. Too often, this image is one of hypersexualization, dimwittedness, or harboring a profound vacancy—a portrayal that persists and permeates the collective subconsciousness of being Black in America. It's an image that suggests our societal role is intrinsically tied to a perceived lack of intellect and self-worth. When you control how someone perceives themselves, you control them through their understanding of their own image; it becomes a mechanism of control.
As a child, my mother painted the faces of our Christmas ornaments all colors black and brown to model to us inclusion. By doing this, my mother imparted on me a valuable lesson—one where I understood I can articulate my own vision of the Black image. By creating functional sculptural pieces, I merge the historical essence of ceramics with a dignified purpose for my subjects and by utilizing ceramics as a functional medium, I aim to highlight the essential roles that Black culture has carved within American society, celebrating its significance and resilience.
Artist Bio
Christina Graland Joseph was born in Los Angeles, October of 1990. She grew up in Southern California studying painting and drawing from a young age. She attended college at Maryland Institute College of Art where she learned ceramics, performance art, and installation. She graduated in 2012 with a BFA in sculpture. After graduating, Christina became involved in the art scene in Baltimore both with local galleries and community outreach. For years after graduating college, Joseph focused primarily on her performative works, performing at Baltimore’s Light City, Fields Fest, and other local galleries and events. Joseph moved back to Los Angeles in 2017 where she now lives and works primarily with ceramics. Despite growing up in Los Angeles, Joseph is highly influenced her southern roots, as well as artists such as Lorna Simpson, Carrie Mae Weems, and David Hammons. Joseph’s work often surrounds themes of identity, hair, spirituality, and beauty culture.