ABOUT US
WHO WE ARE
WE ARE
FUTURISTS.
leaping through and bending time – unapologetically and hopefully in love with blackness. we are artists – creating across 34 planes – intersecting, cross pollinating and architecting a world that can only be accessed by those who can hear between the spaces. we are chromatic black – hues of snow, flints of green, shades of blue, deep reds, translucents indigos, royal browns with specks of gold and bright winter greens. we are weavers. equity architects. different and yet at our core, at the depth of our beings – we are chromatic.
LEADERSHIP
THEORY OF
TRANSFORMATION
leaping through and bending time – unapologetically and hopefully in love with blackness. we are artists – creating across 34 planes – intersecting, cross pollinating and architecting a world that can only be accessed by those who can hear between the spaces. we are chromatic black – hues of snow, flints of green, shades of blue, deep reds, translucents indigos, royal browns with specks of gold and bright winter greens. we are weavers. equity architects. different and yet at our core, at the depth of our beings – we are chromatic.
WHAT IS THE
MASTER NARRATIVE
In a Bill Moyers interview with Toni Morrison in March of 1990 for his television series A World of Ideas, Morrison explores her definition of the master narrative:
Moyers: I don’t think I’ve ever met a more pathetic character in modern literature than Pecola Breedlove in The Bluest Eye.
Morrison: She has surrendered completely to the so-called “Master Narrative,” the whole notion of what is ugliness, what is worthlessness. She got it from her family; she got it from school; she got it from the movies; she got it from everywhere.
Moyers: The Master Narrative . . . what is . . . that’s life.
Morrison: No. It’s white male life. The Master Narrative is whatever ideological script that is being imposed by the people in authority on everybody else: The Master Fiction . . . history. It has a certain point of view.
Moyers: I don’t think I’ve ever met a more pathetic character in modern literature than Pecola Breedlove in The Bluest Eye.
Morrison: She has surrendered completely to the so-called “Master Narrative,” the whole notion of what is ugliness, what is worthlessness. She got it from her family; she got it from school; she got it from the movies; she got it from everywhere.
Moyers: The Master Narrative . . . what is . . . that’s life.
Morrison: No. It’s white male life. The Master Narrative is whatever ideological script that is being imposed by the people in authority on everybody else: The Master Fiction . . . history. It has a certain point of view.
White supremacy in its multiple contemporary mutations and forms is destructive to the psyche and our collective consciousness.
We seek STORY that is meaning making, provides us with organizing language, and helps us navigate our existence with creativity, dexterity and defiance.
We seek STORY that illuminates our blind spots, re-orients us toward a framework that integrates agency and structure, person and setting, individual and culture.[Erikson, 1968]
We seek STORY that helps us understand our past, deconstruct our present and envision a