last year, Brackens has gained considerable recognition for his vibrant allegorical weavings investigating Black and queer identity in America. Below, the two artists reflect on the significance of “code-switching” in their respective practices, the legacy ofDiedrick Brackens. Photo by Alex Hodor Lee.I am trying to figure out travel from the East Coast to the West Coast, which I haven’t done yet. Have you traveled yet?I’m in Texas. I live in Los Angeles, but I drove out.
But when you were talking about the “vanity” part of it—I don’t think I really committed to what that meant until now, when there’s only five people there and you’re like, “I mean, does it exist? Did it happen? Am I important?”f course, that’s the thing. It’s a tangibility that you can’t cross-reference by the reaction of the people.I had a show up in L.A., and we had a small opening timed throughout the day.
Sometimes it’s thought out, and I’m going to plan this imagery or try to make this imagery occur within this pattern or within these parameters. Then, I might go through a phase where I’m like, “I’m going to go in there cold. I’m going to grab a brush or spray paint or a handful of tar. I’m going to throw it on there and just respond.”
I did a lecture in North Carolina once. This older white woman drove in two hours. She waited until after the lecture, came up to me with a bag full of quilt materials from her neighbor who was deceased and was like, “She gave them to me and I didn’t know what to do with them. I’m a quilter, but I’m not going to use this stuff. I know what you’re doing, and I think she would want you to have it, and I’m giving these to you.” I was so touched. Those strange things happen.
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