Look in her eyes. There is a home.
The soundscape scored by Theaster Gates, that has resonated with me for over a year, has finally begun to make sense. Inside of her eyes, there is a sense of belonging and comfort. Inside of her eyes, there is fantasy but also verisimilitude. There is a home.
Archivist and curator Doriana Diaz’s platform, The Diaz Collections, is a home for Black women and femmes. The Diaz Collections is a space for the exploration, discovery and understanding of cultural change and artistic wellness cultivated by women across the African diaspora through images, films, essays, poems and books.
The self awareness of Maya Angelou. The fierceness of Pam Grier. The declaration of respect by the Mothers for Adequate Welfare (MAW). These historical accounts of Black women’s history have provided a source of connection to the roots of origin of a Black woman. Connecting the heritage of Black women through spirituality and creativity, and becoming an extended part of Diaz.
What initially began as various exhibitions hosted in the Philly-based artist’s apartment, has now transformed into a space for “Black, long-standing and up-and-coming artists” and a support of artistic wellness amongst Black women and femmes. A support that is needed amidst the social, economical and racial climate of the world.
“Ubuntu,” the South African word meaning “I am because you are,” is the idea that is carried throughout the culmination of the platform’s principles. “It [The Diaz Collections] is that mirror,” Diaz said. “I think the beautiful thing about Black womanhood is to have that mirror, to have that reflection of ‘I am here because you are here’ and ‘I exist because you exist’. I always think of Sonia Sanchez and her quote, ‘I shall become, I shall become a collector of me. And put meat on my soul.’”
An ode to self-reliance.
A reminder to nourish your soul and maintain your peace — which can be a complex concept to grasp. But, finding joy in subsistence and the small things has helped Diaz find peace. Along with, not taking things personally, but incorporating laughter and asserting private boundaries in this digital age of social media. Social media, a rife that has impacted human society in, entirely, contrasting efforts; efforts that are hindering the growth of artistic wellness within Black women.
A hindrance that Diaz has continually encountered as she built the wellness platform. Succeeding a five month social media hiatus and a short-lived rebrand, Diaz found her “home” within The Diaz Collections. “When you go to The Diaz Collections, it’s all different colors and patterns,” Diaz said. “Nothing matches and it’s all about Black history and culture while also incorporating writing elements, mood-boards and beautiful photography and visuals from people. It’s just very chaotic, which I love and the aesthetic of that is me.”
“I have to work through heartbreak, I have to work through grief. I have to work through mourning. I have to work through my own joy. I have to sit in my joy. I have to be in love. All of that is going to show up in what and how I create. I think that has given me immense freedom.”
But, there are so many pieces of Diaz that she’s collected from herself and others throughout her entire lifetime, specifically, her grandmother whom she spent her childhood summers with in Detroit, Mich,. Her altar. Her fortress.
“Everytime I write, her voice would be in the back of my mind— it would show up.” Diaz said. “I think of her garden when I think of her. I think that she showed me what it is to really nourish something. From start to finish, I think about her often. I think about her memory and a lot of that has to do with how I show up as a creative. She is a lot of my inspiration and I always call upon her when I am feeling defeated, or when I am feeling uninspired or when I am feeling lost.”
It was a process to reach a point of stability and contentment for Diaz, but, The Diaz Collections has “finished with beauty.” Similar to the platform’s latest Instagram takeover series, “It Is Finished In Beauty, Renaissance Women of Alchemy.” Primarily focusing on the often overlooked process of creating within the artistic realm, the series promotes finding beauty in the elements that make-up the end result.
“We always tend to show the end piece because it’s prettier than the process. I wanted to show the process of people’s artistic practices,” Diaz said. “I wanted there to be multidimensionality and difference in the artists that I chose. I spent a long time doing a lot of research on the artists that I chose and wanted to highlight.”
The series features takeovers by Gianna Hayes, Line & Honey, Veronica Elizabeth and Llucy Anaki Oláorah. Oláorah, who’s takeover occurred on March 21, 2021, focused on the five points that resonate with her daily practices which included communion. A point that shares similarity with Diaz’s affirmation of “to be of service.”
“I think a lot of my work is to be of service and I talk about this a lot with different Black women that I consistently create alongside or with. It is that quote by Nipsey Hussle of ‘we are here to give until we are empty; we are here to serve our community,” Diaz said. “It has to remain at the root and has to be authentic because anytime I have veered away from that, I have felt in-authentic and untrue to my purpose.”
But, artistic wellness isn’t a difficult concept to practice. To understand what artistic wellness is — is a practice in itself. “I think inherently, wellness is a practice and it is an art. It is a craft.” Diaz said. “I think that your artistic practice should, inherently, be so you can get well. It should be something that you invest in as a part of your wellness routine. I think that you can’t have one without the other.”
Artistic wellness can be practiced in the simplest of ways, especially for college students, the incorporation of journaling, mood-boarding, and even horticulture, are included according to Diaz.
Most importantly, exploring The Diaz Collections is practicing artistic wellness to its fullest extent.
“A lot of my work is in lineage. A lot of what you’ll see on my page is that. There is a profound need for me, atleast, to ensure that people are reminded,” Diaz said. “Without the Harlem Renaissance, we would not be here. I would not be here. Without historical Black female-driven organizations and collectives… I would not be here without them. It’s crucial, to me, to pay homage to them. To ensure that we don’t forget that they existed. I would not be able to do this work without Sula by Toni Morrison, without Sonia Sanchez, Nikki Giovanni, Langston Hughes… I would not be here. There is a profound need to ensure that people are reminded; and if you don’t know them or if you don’t know their work then you can come on my page and take a look and learn more. You can celebrate and uplift and pay homage to them as well. Those people, their names and work are a part of my work and daily life.”
