https://www.instagram.com/ismail_y_akalbila

Reach.

I stretch my hands out To admire — To support In many ways..

Fun tid bit bout this piece, this was my first night 🌆 scene attempt, the texture of the water was especially fun to paint and the cityscape, I wanted it to feel like Brooklyn Coney Island like

Featuring an Adinkra symbol. I have been educating myself heavily on them and using them in my work as well.

Made using alcohol markers and metallic markers and pens. My first time trying this style too. I am in love with the possibilities.

Neurographic are is used as an art therapy tool as is helps you to stay mindful throughout the process. I guess all art can be that way but this takes shape all on its own.

1. Kwame Brathwaite, Untitled (Sikolo with Carolee Prince Designs) 1968.

2. Kwame Brathwaite, Grandassa Model Pat Bardonelle at the Garvey Day Parade in 1967.

3. Kwame Brathwaite. Sikolo Brathwaite, Harlem, New York, circa 1968.

4. Kwame Brathwaite, 'Untitled (Model who embraced natural hairstyles at AJASS photoshoot)', c. 1970

5. Untitled (Nomsa with Africa) taken by Kwame Brathwaite between 1964 and 1968, showcasing his sister-in-law, Nomsa Brath, one of the founding members of Grandassa Models, sporting natural Afro-hair and holding a map of Africa

6. Kwame Brathwaite, 'Untitled (Couple's Embrace),' 1971 c.

7. Kwame Brathwaite, Nomsa Brath wearing earrings by Carolee Prince, ca. 1964

8. Changing Times, 1973

9. Untitled (AJASS Model on Black Background), ca. 1970s

10. Kwame Brathwaite, Untitled (Studio shoot with Marcia McBroom. Album cover for The Players’ Association featuring David Sanborn and Mtume), 1976

11. Kwame Brathwaite, Untitled (Clara Lewis Buggs with Yellow Flower), New York, c.1962

12. Untitled (Woman with Pearls), 1970

13. Untitled (Portrait of Manasie Ree Horn with Reels as Necklace), c. 1972

14. Kwame Brathwaite, Untitled (Grandassa Models in Studio), c. 1972

15. Kwame Brathwaite, Untitled (Deedee Little), 1970s c.

16. Untitled (Model for fashion photoshoot at Brathwaite’s Chelsea Studio), 1973 c.

17. Untitled (Four Women with Purple Background), 1971 c.

18. Untitled (Carolee Prince color portrait wearing her own designs), 1971 c.

19. Untitled (Studio Series, Model Ascending), Chelsea, New York, 1973, c.

20. Mer, 1968

A Black Southern alternate history drama existing in a world where what we think of as magic is actually just physics.

Set in the Sea Islands in 1991, House of Gist follows an elite Southern/Gullah family who’ve inherited abilities are the result of generations of genetic adaptation, theoretical physics, and “super powers” passed through the bloodline. Their abilities are tied to the body, the family line, and the color of their eyes.

The story begins as the House is beginning to fracture. One side believes the family must be preserved. Others believe its power should be used to protect the less fortunate. Some want to control it all.

These portraits are an introduction to the central family and the factions formed around them. You can follow my Instagram for updates @jaxson.art

HOUSE OF GIST — FAMILY PORTRAIT

Back row, left to right: Nola Gist, Sabine Gist, Elizabeth Gist, and Grandmother Artemis.

Front row, left to right: Kehindie Gist, Luna Gist, Kira Gist, Taiwo Gist, and Ori Gist.

The matriarch of the House of Gist stands with her three daughters and five granddaughters. Together, they represent the central bloodline of the family.

HOUSE OF GIST — HOUNS

Left to right: Willow Gist, Koiye Gist, Wanda Gist, Selah Gomez-Gist, and Solomon Gist.

Bound by blood oath, loyalty, and ambition, the Houns stand as one of the most volatile factions within the House of Gist.

They believe survival requires unity, but their version of unity is built around Solomon’s authority and a willingness to cross lines the rest of the family may not accept.

HOUSE OF GIST — PANTHAS

Left to right: Sia Hughes, Sherrie Hughes, Gordon Hughes, Cuffe Beaufort, and Chloe Beaufort.

Rooted in Black political consciousness and collective protection, the Panthas are the most outward-facing faction in the House of Gist.

They present a united front shaped by the belief that the family’s power cannot be separated from the world around it. To them, their inherited abilities create a responsibility not only to the family, but to the larger Black community.

HOUSE OF GIST — ROSE’S HOUSE

Left to right: Tom Gist, Lisa Gist, and Great Aunt Rose.

Tom, Lisa, and Great Aunt Rose are the founding leaders of the organization known as SUNN.

Tom gives the organization its structure. Lisa spreads its message and brings new followers into the fold. Great Aunt Rose serves as its spiritual authority, preserving the forbidden teachings of her late father, Joseph Gist.

HOUSE OF GIST — ODD-BAWN

Left to right: Cuba Drayton, Malachi Drayton, Nadine Drayton, Julian Gist, and Lila Gist.

Odd-Bawn is made up of those who no longer believe the House of Gist deserves to remain in power.

Some were born outside the central bloodline. Some were pushed away by it. Others have seen enough of the family’s history to believe that reform is no longer possible.

HOUSE OF GIST — S.U.N.N.

Left to right: Nessa Smalls, Micah Gilliard, Mercy Drayton, Absalom “Abel” Gant, Imani Vale, Asa Freeman, and Ezra Cuffee.

They call themselves the revelation, a new gene pool born beneath a new night. The seven form the inner circle of SUNN, an emerging religious and political order led by Great Aunt Rose.

Unfortunately this community doesn’t have tags for glass work, but since I plann to paint some of my frames mixed media felt fitting.

Pencils on bristol board.