The Black community has enriched every facet of U.S. society throughout history — including, but not limited to, the sciences, the arts, education and government. To wrap up Black History Month, we shine a spotlight on our local African American artists, who share candid insights into their inspirations, creative processes, and personal journeys.
Wasentha Young
What first sparked your interest in creating art, and how has that initial spark evolved?
As a young adult I wrote poetry to help process my emotional states; painted to express what could not be literally described; and made beaded jewelry to concentrate. By age 20, I was showing in galleries and selling in craft fairs.
Mosaics became my medium in 2006 after going to Spain. Seeing Gaudi’s Sagrada Família and Park Guell in Barcelona; traveling to the district of Granada where I discovered the Muslim porcelain tile mosaics at the Alhambra, and the pebble mosaics of the Albayzín dating back hundreds of years, made an impression. At that point I realized the multiplicity of mosaic styles and embraced it as an artistic expression.
How do you decide on the themes and concepts behind each piece you create?
My subjects revolve around the forces that propel me in life changes. There are times I am awakened in the night by a voice from deep inside – somewhat ancestral – from the depths of time, or I get a glimpse of what yet to be discovered.
For example, my current body of work, “Unveiling Portraits,” started after George Floyd’s murder. The portraits are based in the dynamic emotions and cultural experience of being African and American. Although the works can be perceived as “masks,” they are unveiling rather than masking. They voice the challenges and joy of my African and American roots.
Art is art, no matter what the medium. The poetry of my inner landscapes and the mosaic work tell the story of what I cannot express in structured conversations. These portraits are a wonderful overlap where words and visuals can dance and convey feeling, emotion, sometimes a message from a place that rides the edge of past, present and alternate realities. What I have learned in creating this body of work is that each piece promotes my healing. They express inseparable intelligences of my heart/mind.
Can you describe your typical creative process?
The vision and emotion come first. I begin to draw and design to make the substrate (what the mosaic materials are adhered to). Sometimes, I make a maquette before carving a larger piece of foam, do a bit of prepping by cutting the tesserae (stone) with a hammer and hardie, and sit and meditate in communication with my ancestors. Every step of the way I feel as if I am a divine vehicle, while at the same time holding ownership of the art that is produced.
I love the visceral quality of creating mosaic art. As I cut, nip and break my materials, I get intended and unintended shapes. So, creativity is planned as well as spontaneous. It grounds me and is quite an integrated process in mind, body, and spirit.
Which artists (historical or contemporary) or other influences have had the most substantial impact on your art, and why?
I was born into a family of artists. Everyone in my birth family had a creative outlet. My mother was the greatest enabler for me in art, as she never discouraged the process while at the same time insisted on achieving academic excellence.
Since mosaics, as a contemporary style of art, is fairly new, I have looked mostly at the styles and not the person. Teachers from the Chicago Mosaic School – Verdiano Marzi, Karen Ami, Sue Giannotti and Matteo Randi; as well as the independent mentorship of Sophie Drourin, Sherri Warner Hunter and Erin Pankratz all fostered my development artistically and professionally.
That being said, my perspective of creative influences included writers, painters, scientists, politicians, etc. For example, during one of Toni Morrison’s lectures, at UM Rackham, she spoke about the canon of literature (there is one in mosaic art as well) and then reminded us that there is world full of literary perspectives. She showed us that knowing the canon is important, but not to leave out our cultural literary expressions, as it is a part of the whole.
I took that to heart and continue to look beyond the mosaic canon of the Persian, Byzantine and Roman eras. I continue to explore African, South American, Mexican and other cultures that have also expressed mosaics art in some form within their lifestyle.
All this to say, the mosaic art form and the expression and sustainability of it throughout time is my greatest influence. I have learned from other artists, but they do not inform the content nor style of my work, rather they have revealed and impacted the techniques that I use in creativity.
What advice would you give to other aspiring artists?
Being self-taught is as important as being mentored. Creativity applies both. Mentorship does not have to always be a monetary exchange. Some of the processes of creativity are organic while at the same time can come from learning what others have studied and practiced. Explore, read, listen, share, ask.
Sometimes, fear can stunt development. I had a conversation with an upcoming artist who expressed that they didn’t like to talk about their work. I asked, “is it because you don’t know how or that you don’t like to talk?”
Look deep inside. Face your fear. In my humble opinion, it is better to ask for help than to pretend you know what you are doing. Respect the tension of your shortcomings and look to dissolve that tension. Create space for learning from others. In the long run it will show in how you express your art.
There is something beautiful about spontaneity – having a direct flow of creativity, and something beautiful about the development. Is your work meant to dissolve or withstand? When you understand the method and develop the techniques you can make an intelligent decision.
Play, envision, plan, create; explore, network, learn, and deepen your development. You can have a hobby or become a professional. Whichever you decide.
Aaron Dworkin
What first sparked your interest in creating art, and how has that initial spark evolved?
Art, for me, has always been an act of translation — the alchemy of emotion, experience and history into something tangible, something that speaks beyond words alone. My first spark came through music, through the resonance of a violin string that carried more than just sound — it carried stories, identity, and the weight of heritage. Over time, that evolved into a broader pursuit: poetry, narrative and the written word became extensions of that same impulse. I found that while music vibrates in the air, poetry lingers on the page, whispering long after the final note. Today, my creative process is fueled by a relentless exploration of humanity — our contradictions, our harmonies and the ways in which art can bridge what society often fractures.
How do you decide on the themes and concepts behind each piece you create?
Themes choose me as much as I choose them. Often, I begin with an idea that unsettles or ignites me such as a moment in history, a personal reflection, a cultural tension that refuses to be ignored. I listen for the unspoken, for what exists between the margins. I am drawn to themes of identity, justice, heritage, and resilience, but I also embrace the fluidity of inspiration. Some works begin with a single word or image like a burning violin, an empty chair, a forgotten melody and from there, I let the piece tell me what it wants to become. My process is about immersion, about feeling the weight of a subject before attempting to translate it into form.
Can you describe your typical creative process?
There is no singular path, but rather a rhythm that shifts depending on the piece. Some works demand research like diving into archives, reading accounts, absorbing historical context — while others emerge in a more immediate, instinctive flow. Music often serves as a catalyst, setting a mood that shapes my words. I write in layers, returning to a piece over days, sometimes weeks, to refine its voice. Poetry demands distillation… paring down language to its essence, finding the sharpest possible way to evoke emotion. Whether composing a poem, a narrative, or an editorial, my process is about listening to the world, to history and to the silences between them.
Which artists (historical or contemporary) or other influences have had the most substantial impact on your art, and why?
My influences are varied, spanning disciplines. James Baldwin, for his unflinching truth and poetic precision. Maya Angelou, for the way she wove history and personal experience into something universal. Pablo Neruda, for his ability to make the political deeply personal. Musically, Leonard Bernstein and Coleridge-Taylor Perkinson have influenced my understanding of artistic fusion and how sound and narrative can intertwine. Then there are contemporary voices in poetry and activism that remind me that art is not just a reflection but a force of change. I am drawn to those who break boundaries, who disrupt expectation, and who, in doing so, remind us of our shared humanity.
What advice would you give to other aspiring artists?
Create with urgency but refine with patience. Do not wait for permission. Your story, your voice, your perspective are valid and necessary. Art is an act of defiance against silence, so speak boldly, but also listen deeply. Study those who came before you, but do not be afraid to break the mold they left behind. Most importantly, never forget that art is about connection,whether through poetry, music, or prose, the goal is always to move, to challenge, and to awaken something in others. The world does not need another copy; it needs your truth.
Lauren McHale Mills
What first sparked your interest in creating art, and how has that initial spark evolved?
I cannot say that there was an initial “spark”. Art was just always what I did. My mom tells everyone who will listen that I’ve been drawing since I was ten months old LOL! However, I do remember when I first felt something after drawing, when the action wasn’t just rote. I was no more than ten. I had drawn a dung beetle I had seen in a book about Africa. I also drew the ball of dung it was on top of. It was perfect! The shading of the sphere and the cast shadow were so accurate! I felt immensely proud and accomplished. That feeling of pride and accomplishment after I complete a piece hasn’t changed; but it has grown. The more complex the project I complete — whether it’s a painting, a sculpture, or a book — the prouder and more astonished I am. I can never believe my mind and hands made them! It’s a wonderful feeling.
How do you decide on the themes and concepts behind each piece you create?
Life usually decides that for me. Whether I’m reacting/ trying to process what’s happening in the world, processing my own realities and past traumas or completing an assignment like I did in undergrad. Either way, I take what I’m given and try to make something beautiful out of it.
Can you describe your typical creative process?
Gosh, that feels like such a hard question. Usually, I’m inspired by something first. A public or private tragedy, artwork I see at a museum or gallery, even my own past work. That’ll spark a question. Sometimes it’s a practical question like, “How can I incorporate this technique or medium in my own work?” Or it’s contextual, like, “What determines value?” Once I have my “big question,”I may continue with a mind map, or word association to get ideas flowing. I may do some preliminary research and develop ideas from my readings. Sometimes, like recently, I have fully fledged ideas that come to me all at once; so, all I need to do is start making… after I write an ordered list of what to do first. The only reason I can’t be more specific in the “what”, is because that changes all the time for me. Sometimes I’m painting, writing, making a video, creating some sort of three-dimensional thing, or everything all at once! It depends on the needs of the concept. What medium(s) are best to tell this story or convey this particular message? The one “typical” thing in my practice is the constant change.
Which artists (historical or contemporary) or other influences have had the most substantial impact on your art, and why?
This is a difficult question as well! I’m inspired by so many creatives in all fields. I’ll give you my top three, though. Firstly, Toni Morrison. She had such a way with words. They were imaginative, even whimsical; yet, provocative and pithy. There was nothing she wrote that I couldn’t see crystal clear in my mind’s eye. I make it my mission to achieve that same balance in my own work. Second, Jacob Collier. He’s a musical genius. He’s not only excellent at many things, but he also has a love for life and people that is just palpable. He also approaches sound with such a curiosity that makes the resulting music a pure sonic adventure. After discovering and loving his art for so long, it’s inspired me to approach my work with that same curiosity and lust for life and beauty. Lastly, Mario Moore is a huge inspiration of mine. Not to overuse this word, but he is an excellent painter and sculptor. He’s not only technically skilled and representative of the times, but on a personal note, his paintings have an underlying humor to them that I really appreciate. Being a witness to this living master compels me to continue striving for greatness and yes, excellence.
What advice would you give to other aspiring artists?
I don’t know where this quote came from originally, but I found it on Facebook. It says, “Make sure the choices you make are worth the losses you will take.” In high school, when I decided to officially pursue fine art as a career, I knew in my bones that that was what I had to do. Even with family members trying to convince me that I’d be broke and unsuccessful. Some say that to this day. I still knew where I belonged. Mind you, I have and continue to take many losses; but the wins make it all worth it. I’d say, never assume that your growth will be linear and exponential. It just may be, and that’ll be awesome! But if it isn’t, never lose sight of that gut feeling you had when you made the choice to pursue art as a career. Carry that inner confidence with you through the lows of life. I’m talking to myself here too! You’ll make it where you wanna go if you don’t give up.
Donna Marie Iadipaolo is a writer, journalist, and State of Michigan certified teacher, since 1990. She has written for national publications like The Village Voice, Ear Magazine of New Music, Insurance & Technology, and TheStreet.
She is now writing locally for many publications, including Current Magazine, Ann Arbor Family, and the Ann Arbor Independent. Her undergraduate degree is from the University of Michigan, Ann Arbor, where she graduated with an honors bachelor’s degree and three teacher certificate majors: mathematics, social sciences, English. She also earned three graduate degrees in Master of Science, Master of Arts, and Education Specialist Degree.
