A: where is the wind bound to ?

C: well of course isnt that what we all try to configure? All of us all got the humor.

A: im aware that we began toward tompkins and then we rerouted      

to head west what happen                                                                                  

C: she helped me in the moment where i couldn't find it within so im headed    

  west now. Though it left me at the corner i'm still trying to remember the

  moment so i can pull from it. to witness and endure.

A: does she represent the east bound wind

C:

A: is the wind a real—-----

C: the witnessing and the enduring is.

A: when por''''''''traying the human form wh----y do you se--e it

    refe////rencing or pay//////ing tribute to ancestral history?

C: Do you? to witness and endure.

A: do you really want to be a fly on the wall through their moments and see myself in them?

C: Well of course isn't that what we all try and configure? All of us all

    got the humor. to witness and endure.

A: The body is a stand in or– is it a stand in?

C: i like that phrase but, maybe, who knows fr. give me about 10 years to get back to you on that one.

A: For a while i was thinking of the bodies as a life lived, exploration of the

    corporeal nature of our body in relation to the experiences and the entropic

    memories —--- but to witness and endure but it doesnt seem to work like that.

C: is that so.

A: The east bound woman helped conjure more ideas. The word ‘corporeal’ alone. The northbound wind took part. Looking at artists' work. And finding words that i liked.

C: This whole process seems like it has been a self clock ?? i dont know

    how to word it the repetitiveness and obsessive nature. Is that true?

A:  Where does the repetition began to be

C:  a emanation of my lack of

A:  A hunt for control.

C: Yes but I already explain this.

A: but does she represent the east bound we=ind

C:

A: and the title?

C: from Richard Powell’s book Black Art: A Cultural history.

Where we find glimpses of our great grandmother's hum. Seen through the eyes of our mother as she lies on an outside daybed joining in on the humming and the cicadas singing.

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Aliyah Cydonia (b. 2002, Dallas, TX) is an artist that lives and works in Dallas. She recently completed her BFA in Studio Art with an emphasis on painting and drawing from University of North Texas. Her work was recently shown in Fig. 361 at the Belmont Hotel featuring works from Hannah Baskin, Jose Vasquez, and Aliyah Cydonia, curated by Jillian Wendel. She has exhibited works at The MAC, 500X Gallery, SP/N Gallery at the University of Texas at Dallas, and the gallery at Richland DCCCD Campus, and Union Art Gallery at the University of North Texas and Daisha Board Gallery. Axiomatic Womb to the Proverbial Tomb will be the most significant exhibition of her work to date.

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