Tasha Nicolé Burton

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	<title>Tasha Nicolé Burton</title>
	<link>https://tashanburton.com</link>
	<description>Tasha Nicolé Burton</description>
	<pubDate>Fri, 12 Jan 2024 01:37:14 +0000</pubDate>
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		<title>Main</title>
				
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		<pubDate>Thu, 25 May 2023 21:10:55 +0000</pubDate>

		<dc:creator>Tasha Nicolé Burton</dc:creator>

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Public Entitlement</description>
		
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		<title>Mobile header</title>
				
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		<pubDate>Thu, 25 May 2023 21:10:55 +0000</pubDate>

		<dc:creator>Tasha Nicolé Burton</dc:creator>

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		<title>Mobile nav</title>
				
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		<pubDate>Thu, 25 May 2023 21:10:55 +0000</pubDate>

		<dc:creator>Tasha Nicolé Burton</dc:creator>

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		<title>Kumquat</title>
				
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		<pubDate>Fri, 12 Jan 2024 01:37:14 +0000</pubDate>

		<dc:creator>Tasha Nicolé Burton</dc:creator>

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		<description>Kumquat

1/11/24 44° 7:10pm Ninety Three ‘Til Infinity And Beyoncé
on repeat
This is the day I shed my layers
a new moon
just wrapped
its arms around
me and began to
peel me apart
This is the first time sage smelled sweet to me.
before,
It would smell green.&#38;nbsp;Like velvety moss.&#38;nbsp;Green algae.&#38;nbsp;With a thickness like silk chiffon draped over your face.
I wpondered why I suddenly felt different. 
What does change feel like?


To me, it feels like a threaded needle piercing through your spine.

The crepitus is audible and it sends a carress of static across your skin.

Change is rarely pleasant.
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		<title>When the Womb Is Tender</title>
				
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		<pubDate>Thu, 25 May 2023 21:10:56 +0000</pubDate>

		<dc:creator>Tasha Nicolé Burton</dc:creator>

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	&#60;img width="768" height="1205" width_o="768" height_o="1205" data-src="https://freight.cargo.site/t/original/i/0c5813c6c49477247276740f648bd3fc5f949dd3a27a9ace2338ef9c6f384d99/burton_tasha_wtwitweb9-Medium.jpg" data-mid="180067572" border="0" data-scale="97" src="https://freight.cargo.site/w/768/i/0c5813c6c49477247276740f648bd3fc5f949dd3a27a9ace2338ef9c6f384d99/burton_tasha_wtwitweb9-Medium.jpg" /&#62;
	When the Womb Is Tender&#38;nbsp;
Wildfruit Projects, 2023

Select installation views and images used in the show are below.
When the Womb Is Tender is a photography project about the disparate impact of uterine fibroids (UF) on Black/African-American and Latin/Hispanic women.&#38;nbsp; These groups are most affected by UF, which are non-cancerous tumors found outside and sometimes inside the uterus.&#38;nbsp; I have had three surgeries to remove UF, so this is also a personal story.&#38;nbsp; There is a significant physical and mental toll of having UF, such as heavy and painful periods, frequent urination, weight gain, and depression. Unfortunately, due to biases within the healthcare system and the encounters women of color have had with physicians who do not believe their pain,&#38;nbsp; women tend not to address these issues until it becomes emergent.&#38;nbsp; By then, a hysterectomy (a procedure to remove the entire uterus) is necessary to preserve their quality of life.&#38;nbsp;
The goal of this project is to increase awareness, motivate women to be more proactive about their reproductive health, and ignite scientists and researchers to further hone in on this issue. I have learned that not talking about these things with providers or even with each other stems from cultural beliefs and practices that may need some course-correcting and unlearning. I hope that people will walk away with more education about UF, the social, economic, and mental impacts this has on women of color, and greater advocacy for reproductive rights.
Artist statement for When the Womb Is Tender:
Tenderness holds two capabilities: one that expresses pain when touched and one that expresses nurturance in response to that pain. These two instincts are formulated and built to alert the consciousness that something is hurt and requires care. In the context of When the Womb Is Tender, we see this instinct evolve. Uterine fibroids can exist for some time in the womb before showing any signs or symptoms. These signs can be a heavier-than-usual cycle or worsening period cramps. For some, these non-cancerous tumors cause no issues and calcify in the uterus. For many, it causes unbearable pain, fatigue, and depression. You may know some of these people and yet not know that they go to great lengths to disguise their condition. These people tend to their bodies seemingly around the clock to ease and subdue their discomfort. This journey comes with intense feelings of embarrassment and shame. The transition from symptoms to bulging and then to scars, as evidenced by surgical procedures, is very challenging and can often feel like navigating a choppy tide in a canoe with only one ore. Then there is the work of proactiveness, the constant worry, and the bias within a failing healthcare system that lies in the scope of being a black or brown person in America. There is post-operative depression, body dysmorphia, and in many cases, coping with the new reality of never bearing children.
While everyone’s journey is different, they share a familial relationship with tenderness in the womb. This relationship traverses between the sufferer (self) and the carer (also self) for months, and sometimes years. Deeply consider the vulnerability before you and the incredible strength required to be intimate and share this tendering with you. With this, I offer a phenomenon for the tender womb that we say in unison: I joyfully receive the mending of my body. And so it is.
This project is supported by Shift Consulting, LLC, The Puffin Foundation, Ltd., and Black Women Photographers in partnership with Nikon USA.
Images for WTWIT were printed on a napped polyester. This allowed movement within the image itself, where the napped material could be manipulated or “tufted” to create dimension in the photo. In addition to this manipulation, because the canvas of the material’s color is white with digitally printed colors on top, brushing the material produced a “grain-like” finish on the portraits, giving them the appearance of analog photos (all images were captured digitally). Lastly, this fabric choice intentionally represented the tenderness, which is the basis for this body of work. Additionally, printing on fabric allowed for greater color saturation and a flat, matte appearance of the image, which reduced glare under gallery lighting; the material itself is soft in a figurative sense.

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click to zoom and pause slideshow
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		<title>PSA: The Luminary</title>
				
		<link>https://tashanburton.com/PSA-The-Luminary</link>

		<pubDate>Fri, 01 Sep 2023 03:36:30 +0000</pubDate>

		<dc:creator>Tasha Nicolé Burton</dc:creator>

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“Today, you meet yourself”
a public work commissioned by The Luminary in collaboration with PSA: STL (Oct. 2023-Apr 2024). Broadside risograph prints are available here.
My biggest act of deviance was the moment I stopped trusting myself. My biggest act of resilience was the moment I started forgiving myself.

Stay fluid.

Deviant behavior, as defined by society, is an immoral act that can cause harm to others. It is often a reactionary moniker assigned to someone upon hearing about or witnessing the deviant act. The "act" can hurt others or the person exhibiting the behavior. When looking at the history of the word deviant, we find the terms deviate and deviation. A deviation is simply an action that rejects or steers away from what we consider “normal” or baseline.

Rarely do we self-ascribe ourselves as deviant, as the term can carry serious consequences. Some deviants are publicly shamed, imprisoned, or outcast from society. These consequences lack a reward and deter us from committing an offense. What happens when we consciously or subconsciously think or feel something that could cause harm to ourselves, and what types of repercussions lie ahead? To probe this further, consider the conditions under which you would call yourself a deviant. Under which circumstances would I call myself one? I thought about the actions and thoughts that can passively occur in our day-to-day state of being that could fit this characterization. 

What does it mean each time we doubt ourselves? 
“I studied for two weeks and did well on my quizzes, but I don’t think I will pass the exam.”

What does it mean each time we invalidate or trivialize our feelings? 
“I’m having a tough week, but I should be glad because others are experiencing a more difficult time.”

What is it called when we reject the good things about ourselves because we don’t believe they are true? 
“Everyone says I am good at _____, but they say that to be nice.”&#38;nbsp;

The examples above are globally experienced and have been thought about by almost everyone regardless of age or cultural background. These are false thoughts that we make true, but it is more comfortable to be right than to be proven wrong. This thinking can lead to feelings of sadness, rejection, and anxiety. Our pride gets in the way, and we settle into these feelings without giving ourselves a chance. When a lack of confidence is present, so is the lack of trust. Learning to trust yourself is an ever-evolving journey and practice. Licensed counselors Linda and Charlie Bloom state that self-trust is not a natural occurrence. They continue to say that we often wish to strengthen trust in relationships with each other but not strengthen this within ourselves. The Blooms believe that to get to a space where we can value the internal resources that our self-trust provides requires making the same mistake multiple times. To illustrate this repetitive process, the Ouroboros, a symbol depicted as a serpent eating itself, is pictured with the message.

The Ouroboros' overall symbolism portrays cycles: life and death, time, and collective consciousness. Regarding deviance, trust, and forgiveness, visualize the serpent consuming the negative thoughts and behaviors to birth a new form of thinking. Take the opportunity to acknowledge that a small yet mighty act of deviance occurred. Fluidity asks that we resiliently forge through the process to achieve grace, which brings us to self-trust. When this act of deviance occurs again, we move through it much quicker, making it easier to find forgiveness.


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		<title>R is for Racism</title>
				
		<link>https://tashanburton.com/R-is-for-Racism</link>

		<pubDate>Thu, 25 May 2023 21:10:56 +0000</pubDate>

		<dc:creator>Tasha Nicolé Burton</dc:creator>

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	2020 R is for Racism: How ABC Books Taught Children to Hate, Gallery at the High Low, St. Louis, MO
	

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discovery When I was 8 years old, I checked out a group of books from my local library, the Lewis &#38;amp; Clark Branch. Named for its location on the Lewis &#38;amp; Clark trail, aka HWY 67, in North St. Louis County, it is a large branch with a decent selection of books. In this group of books was an alphabet book. I did not recognize the word when I turned to the letter N, so I asked my father to tell me what it was. He snatched the book out of my hands and stormed off with it. He never talked to me about what it said but I knew it upset him. In 2018, I thought about this experience and realized that the word in that book was Nigger.

elements I looked online and found more alphabet books that included offensive and derogatory words and images of not only Black people but indigenous people and other minority groups. I purchased a few, borrowed others from the library, and photographed them. There were many books with many pages with just a small selection of photographs making it into the show.

exhibition I wanted to imagine what it would look and feel like to have these books be part of a school curriculum (Mrs. Fischer’s Language Arts Class). What is the level of comfort of owning these books privately as opposed to it being a part of the educational system publicly? Would there still remain this nonchalant feeling of casually teaching one of the most impressionable groups of people, children? Or would there be outrage over teaching hate? Today, we have seen homework that asks to list the pros and cons of slavery or history books that intentionally leave out the marred parts of American History. This is still a controversial topic as we work towards racial equity in the United States.

The video Self-Care In 2020 played in a separate room along with photographs and the classroom installation. Putting this work together was not only laborious but also mentally heavy. I wanted to culminate my work and break up that energy by burning the books. This was complicated for many, to say the least, but I felt it was necessary. Some people were upset that the books were burned, and others were happy about it.

The final part of the exhibition was The Reflection Space: How Do You Feel? Stacks of paper with this question across the top were assembled on a table with pens. Attendees were encouraged to fill out a sheet before leaving the gallery. Capturing this real-time feedback resulted in over 80 responses. With the myriad of responses received, I am working on a second iteration of this exhibition. 


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Select installation views. Click to zoom images and pause slideshow.</description>
		
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		<title>Transitions</title>
				
		<link>https://tashanburton.com/Transitions</link>

		<pubDate>Thu, 25 May 2023 21:10:57 +0000</pubDate>

		<dc:creator>Tasha Nicolé Burton</dc:creator>

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2018 Transitions: Food of the Youths, Ripple, Wave, Shadow and Ashes, The Dark Room at The Grandel, St. Louis, MO


This exhibition came about during a transitional period in my life. I was working towards closing a business that I had run for 8 years, entering back into a 9-5, and making the decision to prioritize my art practice. I looked at the genesis of my photography career with Ripple, Wave, Shadow and Ashes. A curated selection of a few images from my first solo show, Butter, in addition to some, making their exhibition debut. The bulk of these images are in black and white. The absence of color symbolized endings and laying that part of my journey to rest.

Food of the Youths is a photo-documentary that began with a curiosity about the packaging waste left behind by students of the neighborhood middle school. Empty bags of chips, cookies, empty milk cartons, and soda bottles were usually scattered about in the large field behind the school building. Aside from the impact on our environment, I recalled the days of my childhood when you could eat whatever you wanted with it having minimal impact on your size or shape. You usually worked off the extra calories by running around and screaming at the sky with your classmates. It felt rejuvenating to me when reminiscing about my childhood in this way.&#38;nbsp;
Between 2009 and 2018, I ran a hair and body care business. I photographed much of the product I made to use for marketing. I would often photograph the products in the middle of production, i.e., while still mixing it in the bowl. This created a deeper love of photography for me and from the hundreds of images I took, birthed my first solo exhibition titled Butter. Vidoe was also a part of the marketing that customers loved. I would swirl the product around with a spoon or whip it with a hand mixer and capture it in slow motion. The result is watching butters and oils come together or apart while creating intricate geometric shapes and figures.


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		<title>A Softness</title>
				
		<link>https://tashanburton.com/A-Softness</link>

		<pubDate>Thu, 25 May 2023 21:10:58 +0000</pubDate>

		<dc:creator>Tasha Nicolé Burton</dc:creator>

		<guid isPermaLink="true">https://tashanburton.com/A-Softness</guid>

		<description>

	&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/0dd403dac9fd49ac20eb1d729847d6fc2bd262cffa3912dc4e899aee20f0175c/untitled-self-portrait-no-1.JPG" data-mid="180600654" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/0dd403dac9fd49ac20eb1d729847d6fc2bd262cffa3912dc4e899aee20f0175c/untitled-self-portrait-no-1.JPG" /&#62;
	2022 Group Exhibit, Documents: contemporary lens-based art Gallery 210 @ FAB, University of MO - St. Louis


untitled self-portrait

Artist statement:
Colors are available to us to utilize in many forms. It is the psychology of colors that transforms them into a mechanism. Historically, colors and their significance have been pre-defined and determined for us. I refer to the Manchester Color Wheel, an emotion-based human design correlating hues with feelings. When employing natural light and colored cellophane, I can project emotion devoid of readied expression to invoke a tangibleness of internal thoughts or energy. A poignant reconstruction occurs within the viaducts of absorption and/or reflection, revealing a loss, gain, or blending of prisms that elicits a new bond or nexus with the self and ephemera.
Process: By hanging colored cellophane on the south-facing windows of my apartment, I am able to project emotion onto various ephemera devoid of any facial expression or immediate clue-ins to how I am feeling. The Manchester Color Wheel considers emotions as they relate to colors by asking subjects to identify and correlate a sensation or feeling with different hues. The study found that when associating sadness or down feelings rather than “feeling blue,” most subjects reported that they “feel grey.”&#38;nbsp; The researchers queried subjects about other moods like happiness and found that people associated the color yellow with this feeling. 
How can I utilize The Manchester Color Wheel to evoke how I’m feeling? Do I relate yellow to happiness? Do I relate grey to sadness? Is it possible to correlate a sensation to a color instead of a mood?&#38;nbsp;


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	<item>
		<title>Juneteenth</title>
				
		<link>https://tashanburton.com/Juneteenth</link>

		<pubDate>Thu, 25 May 2023 21:10:58 +0000</pubDate>

		<dc:creator>Tasha Nicolé Burton</dc:creator>

		<guid isPermaLink="true">https://tashanburton.com/Juneteenth</guid>

		<description>
	&#60;img width="1718" height="2440" width_o="1718" height_o="2440" data-src="https://freight.cargo.site/t/original/i/03a0147260a2793f2a59e6ecaed6201a9b077bb448acbd09ca5b594ca805d81d/burton_tasha_juneteenth_short_ribs_hot_links_rs.jpg" data-mid="180830328" border="0"  src="https://freight.cargo.site/w/1000/i/03a0147260a2793f2a59e6ecaed6201a9b077bb448acbd09ca5b594ca805d81d/burton_tasha_juneteenth_short_ribs_hot_links_rs.jpg" /&#62;
	

2021 Group Exhibit &#38;amp; Art Sale, The Griot Museum of Black History, St. Louis, MO


Juneteenth Hot Link
While slavery was abolished in the majority of the US, a small city in Galveston, TX had not yet freed the enslaved. It was not until June 19, 1865, that the last of the enslaved in this city were emancipated. Now known as Juneteenth, Black people celebrate this day of independence by gathering and cooking elaborate meals. The first Juneteenth celebration incorporated foods that are red in color, a tradition that is still carried on today. For this group show, I centered some of those food items by photographing bbq, strawberry soda, watermelon, and strawberry gooey butter cookies.
These images are 1 of 1 prints and available for purchase via The Griot Museum. For more information, please contact the museum at 314-241-7057.

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