Custom Vinyls and Custom Sounds: Wax Mage Records Is Here to Stay

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By Devon Jones

Music moves the body and soothes the soul. For some, rhythm is the purest form of self-expression. In this day and age, while originality fades into algorithmic sameness, artistry endures with purpose and pleasure. As culture and technology evolve, the value of music remains constant.

This is about music; furthermore, it’s about Wax Mage Records and their work to maintain the art of music in Cleveland and beyond. Often, the gems closest to us are not recognized

What are Wax Mage Records and Gotta Groove Records?

Wax Mage Records is a locally owned and operated record label and custom vinyl record pressing service in Cleveland’s Midtown Neighborhood. Founded in 2012 by Heath Gmucs while he was working at Gotta Groove Records. Working at Gotta Groove, Heath started with small custom record orders that quickly grew in size and frequency. By 2018, Wax Mage had become a signature product line of Gotta Groove Records, evolving into its custom printing department.

In the same year, Tyren Craemer and Heath Gmucs became official business partners, expanding Wax Mage into a record label. Their mission is to empower local artists. Heath and Tyren curate unique experiences through custom vinyl records and promotional services. Through this service, local artists can sell custom records in addition to standard vinyl records as part of their musical release plan.

How Do Vinyl Records Work?

Vinyl records can transport listeners. Depending on the decade you were born in, they can take you back to a time when things were simple and music was something you could feel: when art was physical, you could touch and feel it. As technology advances, the tacit elements of art fade, but vinyl records are making a powerful comeback.

Not only do vinyls move the listener, but the music itself moves physically, as explained by Everpresent:

“When you play a vinyl record, a needle (stylus) traces the tiny hills and valleys in the spiral groove on the record’s surface. As the needle moves, it vibrates. Those vibrations are converted by the cartridge into electrical signals, which are then amplified and sent to speakers, producing the sounds you hear.”

Midtown Neighborhood. Wax Mage Records, founded in 2012 by Heath Gmucs, pictured here
standing next to a vinyl record press machine.Credit Devon Jones

What Makes Wax Mage Records So Special?

Vinyl records once dominated the musical landscape, but now streaming and other sources of musical entertainment are more popular. For some artists and music lovers, however, the need to have a tacit connection to the creation has remained. Artists and fans brought vinyl records back, and they are more popular than ever.

To date, factories nationwide continue to press vinyl records by older groups such as The Beatles, a testament to the format’s lasting demand.

As this market has surged, Wax Mage Records developed a unique product unlike any other vinyl record printing service in the world by creating one-of-a-kind custom records designed to personify the artist and music. These custom-designed records are handcrafted and then mass-produced.

Wax Mage Records and Gotta Groove Records operate an industry-standard vinyl manufacturing process, ensuring that every record they press is both appealing and built to last. But beyond the process, it’s their commitment to creativity, community, and Cleveland’s musical soul that sets them apart. Whether you’re an artist looking to release your next project, or a listener who loves music you can hold, Wax Mage has what you need and is here to stay.

More About the Owners

As a local business, Wax Mage Records emerged from humble beginnings. Neither owner intended to land in this profession, but they have always had a connection to music.

Heath was born and raised in Cleveland and came from a musical family where everyone played instruments. As a result, Heath followed suit and became a professional musician. When asked what music could do for the world, Heath said:

“Music connects people. When you have something to relate to other people with it’s powerful. Different genres can speak at different times and experiences in people’s lives.”

Tyren Craemer, known as Ty, was born and raised in Orrville, OH. Ty came from a family of dairy farmers but always had a passion for music. When asked what music could do for the world, Ty said:

“Art is a connecting factor. The incorporeal nature of art connects people and creates a unique experience for each person. The intention behind the music tends to be inconsequential in comparison to the experience it brings.”

Call to Action: Support the Art. Celebrate the Process. Join the Movement.

In a world that moves fast and often forgets its roots, Wax Mage Records reminds us that music is more than sound—it’s a shared experience, a crafted story, and a tangible piece of culture. Whether you’re an artist seeking to elevate your next release or a listener craving something real, your support helps keep this legacy alive.

So, the next time you’re choosing how to experience music, consider doing it with intention. Explore Wax Mage. Buy the record. Hold the art in your hands, because here in Cleveland, artistry still matters, and Wax Mage Records is here to stay.

State of the Arts vs. State of the City. What gives?

By Vince Robinson

Recently, there was a City Club of Cleveland event called The Changing Landscape of Arts and Culture in Northeast Ohio which featured a question and answer session conducted by Rhonda Brown, Chief Strategist for Arts, Culture and the Creative Economy with Jeremy Johnson, President and CEO of the Assembly for the Arts. The Assembly is a non-profit arts advocacy and research organization that provides support for artists, non-profits and creative businesses in Cuyahoga County.

According to an economic impact study by Americans for the Arts, Cuyahoga County’s nonprofit arts and culture industry generated more than $533 million in economic activity in 2022, a fact mentioned by Johnson. “Even in the aftermath of the pandemic, we were a half billion dollar industry, just in Cuyahoga County, just in non-profits. I’m not even talking about those other legs, individual artists, creative businesses. When we put all of that together, we are a powerhouse and we must continue to be that powerhouse.”

He spoke of the importance of the current levy that supports the arts through a tax on cigarettes which will expire without support from voters to extend it. “We are unique in the country. We have a special levy that only supports the arts community, the non-profit arts community. It’s twenty years old. It has delivered 4,000 grants to a quarter-billion dollars and we can’t let that go away.”

Johnson came back to Cleveland after working in Newark, New Jersey as Executive Director of Newark Arts. He became President and CEO for the Assembly for the Arts in 2021.

Said Johnson, “What I’ve learned in years of working in public/private sector is there’s gotta be collaboration. There’s got to be partnership. There has to be people that invest in that glue, knowing that our city leadership is working with the arts sector, know that our county leadership is working in partnership. Knowing that philanthropy is at the table. What excites me about Cleveland is all these partners are coming together.
Both Brown and Johnson spoke with clarity about the breadth of artists and genres in our community, not limiting their scope to visual artists but including the wide range that includes performance, literary, culinary, fashion, and many others.

Ironically, this state of the arts conversation was preceded by a State of the City address by Cleveland Mayor Justin Bibb a few weeks prior. In his speech, the mayor spent considerable time in his nearly hour-long comments detailing measures to address public safety, almost 20 minutes to be exact. Cleveland now has 52 cadets in its current police academy. It’s larger than the four previous iterations combined, although published reports indicate that 3 recruits have dropped out.

He mentioned ShotSpotter, a technology for gunshot detection. $10-million has been spent on that thanks to funds from the American Rescue Plan Act which saw a windfall of $512-million for city coffers due to the pandemic. Add to the public safety budget another $2.3 million for new dash cams, $26 million for public safety equipment, and $10 million for a Violence Prevention Endowment Fund. All of these go in to the pot of funds earmarked for the city’s public safety budget of $400 million, which is nearly 54% of the city’s total operating budget for 2024.

Last year, the Assembly for the Arts encouraged city leaders to consider appropriating $10 million dollars to support arts and culture in Cleveland. An appropriation was made after months of others pleading their cases for appropriations for various things. $3 million was earmarked for art and culture from the federally funded gift to Cleveland, amounting to .5% of the total ARPA amount.

Those dollars have been provided to the Assembly for the Arts for a grant program called the Transformative Art Fund, a project-based idea that will award $250K to $500K grants in artist/artist teams and institutional partners who’ll serve as fiscal agents to create in Cleveland neighborhoods in the coming year.

It is important to note that the City of Cleveland legally cannot provide direct support to artists in the way that it does public safety personnel. As a result, the Assembly for the Arts is serving as the custodian of the funds that will be given to the institutional partners to provide to the artists to carry out their projects.

These projects promise to have a transformative effect in many ways, as they speak to the ability of artists to address the needs of people and create modalities that foster healing, grief recovery, boost self-esteem, improve the environment and most critically, address racism as a public health crisis.

The real tragedy here is that in the minds of many people, politicians and the general public, public safety has been the primary concern at the expense of the power of art to be the answer to our insecurity about existence.

We are willing to accept tax dollars being spent on tracking gunshots and recording encounters with the police who are hired to protect us from each other and respond to the results of trauma and human dysfunction. This is seen as an alternative to the proactive approach of engaging human beings in the practice and process of creation and engagement in art as a means of self-love, empowerment and edification.

We live in a city in which only a few students get exposure to the arts and a majority go without the benefit of art and culture in their classrooms. Many of the these students end up in the pipeline to prisons where ironically, some find themselves saved by art.

The definition of insanity involves the idea of doing the same thing over and over but somehow expecting a different result. The current model of addressing the ills of our society is insanity. Only when the approach is changed will we see significant change. In the interim, racism will continue to be the public health crisis that goes largely unaddressed as we live in fear of each other and demand Cleveland hire more police officers.

Art is at the heart of possibilities to impact lives in a meaningful way. Only when this is understood and embraced by the people who make the decisions about how our tax dollars are spent can we realize those possibilities.

Now is the time.

August Wilson’s “Jitney” Delivers a Powerful Theatrical Experience

By Vince Robinson

Presented by Lakewood’s Beck Center for the Arts, August Wilson’s “Jitney” is a captivating portrayal of life in Pittsburgh’s Hill District in 1970, brought to life by local actors under the direction of Cleveland’s Jimmie Woody. The play premiered on April 5.

August Wilson is one of America’s most cherished African American playwrights, renowned for his poignant narratives that intricately depict the complexities of Black life. Set against the backdrop of a makeshift taxi company, “Jitney” follows the struggles of a group of Black men as they strive to earn a livelihood. The owner, Jim Becker, portrayed by the seasoned Karamu Alum Daryl Tatum (known for “Fences”), finds his business in jeopardy as his son Booster (played by Patrick D. Warner) returns home after a 20-year prison sentence for murder.

The ensemble cast skillfully navigates the personal tribulations of their characters amidst the bustling activity inherent to their clandestine operation. Against the backdrop of a rotary dial telephone atop a prominent wooden desk, the tales of triumph and tragedy unfold, culminating in an unexpected finale.

Tatum’s portrayal of the steadfast and community-minded Becker anchors the production, while Aamar-Malik Culbreath shines in his debut as the resilient Youngblood, a Vietnam War veteran striving to rebuild his life. Bryant Lyles delivers a compelling performance as Turnbo, juxtaposed against Thailand Hodge’s portrayal of Rena, Youngblood’s conflicted partner.

Royce Ruffin embodies the suave yet troubled Fielding, whose penchant for alcoholism contrasts with his impeccably styled wardrobe. Kym Williams captivates as Shealy, a slick numbers runner who conducts business amidst the chaos of the office. Pete Robinson brings depth to the role of Doub, providing a steady presence amid the conflicts between Turnbo and Youngblood.

Greg White rounds out the ensemble as Philmore, a patron of the taxi service whose sporadic appearances offer insights into the community dynamics. Warner’s portrayal of Booster, haunted by past transgressions, catalyzes the play’s climactic events, showcasing the rising talent of this promising actor.

“Jitney” captivates audiences with its dynamic pacing and compelling narrative underscored by a meticulously crafted set. Director Jimmie Woody’s curated soundtrack, featuring hits from the 70s, enhances the immersive experience, inviting viewers to journey through moments of tension and joy. As the final curtain falls, audiences are left with a profound sense of gratitude for the theater’s storytelling, providing both a glimpse into history and a reflection on the Black experience in America.

The production runs through May 5 in the Studio Theater of Beck Center for the Arts.

August Wilson’s legacy as one of America’s foremost African American playwrights is beautifully upheld in this remarkable performance.

Vince Robinson, based in Cleveland, Ohio, is an artist, broadcaster, photographer, and journalist.

Travel Beyond Without Leaving Cleveland

By Vince Robinson

The Cleveland Jazz Orchestra concluded its 39th season with Bonafide Genius, featuring international bassist, composer, and vocalist Richard Bona, on April 26, at the Maltz Performing Arts Center.

Born into a musical family in a village in Cameroon Central Africa, Richard Bona was surrounded by music from a young age. Recognized for his talent early on, he mastered various instruments, built his own, and taught himself music notation. After spending years honing his craft in Paris, Bona settled in New York where he resided. While his style drew comparisons to Jaco Pastorius, one of his influences, Bona’s sound was uniquely his own.

The Grammy Award-winning musician collaborated with musical legends like Herbie Hancock, Pat Metheny, and Sting, infusing jazz, world music, and Afropop into his performances.

“I didn’t want to play for bass players – I wanted to play for truck drivers! I wanted people to dance!” Bona once remarked, expressing his desire to reach diverse audiences.

The concert promised and gave an unforgettable evening of live music, transporting attendees far beyond Cleveland.

The Cleveland Jazz Orchestra has been Northeast Ohio’s premier jazz voice since 1985. Led by award-winning composer and trombonist Paul Ferguson, the CJO showcased jazz in its historical and contemporary forms, featuring a stellar lineup of jazz luminaries, arrangers, composers, and educators. Each CJO concert delivered “the best jazz you’ve ever heard and the best jazz you’ve never heard.” Through original music and innovative educational outreach, the CJO nurtured young musicians and enriched the region with unique cultural experiences.

Visit www.clevelandjazz.org for more information.

Artists’ Housing: Connecting Art and Real Estate

By Bruce Checefsky

The City of Cleveland, Urban Land Institute Cleveland (ULI), and Assembly for the Arts recently hosted the Art in Place Program: Connecting Art + Real Estate, at the Dunham Tavern Museum & Gardens. Dozens of residents, cultural dignitaries, philanthropy administrators, artists, real estate developers, and city officials were there to discuss artists and real estate in the Hough neighborhood. Instead, the conversation focused on real estate development along the Euclid Ave corridor, from Cedar Ave to Chester Ave, E. 30 Street to University Circle, and excluded the central tract of land in the Hough neighborhood. There was almost no discussion on the area north of Chester Ave or within AsiaTown.

Adam Saurwein, Partner at Benesch Law and ULI Cleveland Outreach Committee Co-Chair, showed several examples of real estate development and artist collaboration projects. He cited HingeTown, including Church + State, and the Collinwood and Hough neighborhoods, where murals decorate public spaces. Art in Place grants bring artists together with real estate developers to “amplify community voices in creative placemaking”, according to Saurwein.

The Urban Land Institute, originally incorporated under the name of the National Real Estate Foundation, is described as a global non-profit research and education organization to help its members and their partners build equitable, sustainable, healthy, and resilient communities. ULI Cleveland is one of eight cities in the world to receive Art in Place, which will be collected and used as a case study for future programs. Community listening sessions will culminate in a technical assistant panel scheduled for October.

“I used to live in the Tremont neighborhood twenty years ago, and when I moved in, it was full of artists and galleries,” said Saurwein. “Restaurants and real estate developers moved in and, unfortunately, artists and galleries have moved out, a victim of real estate success. We want to use this grant to understand lessons to learn.”

Lauren Murray, Executive Director for Dunham Tavern Museum & Gardens, was introduced and followed by Joyce Pan Huang, Director of City Planning for the City of Cleveland, who said art making and real estate development have parallels. Rhonda Brown, the City of Cleveland senior strategist for arts, culture, and the creative economy, read from a prepared statement thanking the city for the opportunity to return home. “In many ways, real estate developers, at the beginning of their process, have to consider the same thing artists do,” said Brown.

MidTown Cleveland presented their neighborhood vision with an overview of developing artists housing along Euclid Avenue. There was no mention of using existing housing and warehouse stock, which is plentiful in AsiaTown and Hough neighborhoods, or references to the dozens of artists that live and work there.

“Whether it is more murals or beautifying public crosswalks, we focus on the arts,” said Sophie Mueller, Economic Development Manager at MidTown. “We want to elevate the cultural patchwork of the neighborhood and amplify local artists, giving them a platform for their work.”

Maybe Someone Should Ask Them?

As introductions concluded, the breakout sessions began. Saurwein was the moderator at one table, and with a clipboard and pen in hand he asked, “What are some of the considerations artists and developers consider when creating or planning?” J. Shorey said when his project is complete (The Foundry Project Arts and Tech Incubator, located on E. 71st and Platt Ave), artists will manage the building. He recently received $670,000 from the state of Ohio’s brownfield remediation program. Shorey purchased the building from the Cuyahoga Land Bank in 2015 and plans to rent space to art school graduates and emerging tech professionals. Sean Watterson wants to see a broader policy position that includes more grant money from the current cigarette tax. Artists currently receive only 2% of a multimillion-dollar Cuyahoga Arts and Culture program; universal basic income for artists was also mentioned.

Kim Scott, Planner at the City of Cleveland Planning, asked about critical mass and if there were enough artists regionally to absorb the new living spaces. No one had the answer. Real estate investors are betting on artists to move to MidTown. Cleveland is among the fastest-shrinking cities in America. In 2020, the population was the lowest since 1890. It has declined by over 3% since 2020. Saurwein was optimistic but cautious. “Artists are not necessarily the type of people that will sign a ten-year lease with three five-year renewals,” he said. He suggested traditional lease agreements might need to be revised.

Hough may be the next artistic hot spot, with wide streets, plenty of empty warehouse space, and proximity between downtown and University Circle. When MoCA relocated uptown, and SPACES moved deeper into Ohio City, they left behind an opportunity to grow Midtown into a thriving artists’ community.

Real estate developers did not build for artists in neighborhoods that have grown organically like Tremont, Gordon Square, and Collinwood. Artists renovated, and repaired old structures, built new ones and made them their own. Investors and developers could be disappointed. Build it, and they might not come.

Frailty

A Poem by Presious Mills

Human insecurity.
It’s actually the refusal to let go of agony.
Fearing the removal of human excuses and exposing basic human fallacies.
Or the exposure of one’s apathy resulting from man’s apprehension; when
the hardness in heart pierces through the mind, causing atrophy.

Human insecurity.
Man’s habitual lying and horrid fantasies.
It is also the missteps in biblical doctrine and walking lazily.
It is the only reason human goals never flow to the subconscious to really grasp accomplishments.

Simply, it is the only reason man stands in place and never moves forward.
Human insecurity.

TCO Kids Korner – February 2023

Greetings! I hope you are having a great new year so far!

Please enjoy our latest reader submissions, many of which were in response to our request for Valentine’s Day drawings. ❤️

Happy Valentine’s Day! – Heaven S. Age 6

Happy Valentines Day Mommy from me and Cleo – Ebony B – Age 8

Ebony B. – Age 8

Happy Valentines Day from Snoopy – Ume S. – Age 10

Nathaniel Y. – Age 20

Music and Tours At The Cozad Bates House

By Mark Silverberg

Each Saturday from 12-4 p.m. at the historic Cozad Bates House, volunteers from Restore Cleveland Hope guide visitors through the colorful and inspiring local history of the Underground Railroad. This history was mostly lost because of the secrecy needed to protect the freedom seekers and those who took the risk to help them. Restore Cleveland Hope continues to research and reclaim the stories of the heroism and bravery of the participants in the Underground Railroad as they made their way to HOPE—the code name for Cleveland.

On Saturday, Nov. 19th, Linda Harris and David Cole from the Harriet Tubman Museum and Education Center in Cambridge, Maryland performed at Cozad Bates, playing the banjo and singing songs related to the Underground Railroad. In Maryland, Linda Harris leads tours following Harriet Tubman’s known routes when she led freedom seekers to safety.

The Cozad Bates House is located in University Circle at 11508 Mayfield Rd. For more information please email info@restoreclevelandhope.com or visit their website at www.restoreclevelandhope.com.

Dispelling Myths About Artists Living With Disabilities

By Gennifer Harding-Gosnell

“Able-bodied folks feel that, if you’re in a chair, you’re disabled, and if you’re not in a wheelchair, then ‘suck it up, buttercup, figure it out.’

Kristi Copez, The Fire Next Time, 2018, Relief print, 24 x 18″

“Wheelchair, disabled. No wheelchair, not disabled.”

It’s just one of the many myths imposed on people living with disabilities, explains Megan Alves, Marketing and Program Manager for the Artists Archives of the Western Reserve as well as curator of the AAWR’s W/O Limits: Art, Chronic Illness, & Disability Exhibition, featuring all works by artists currently living with long-term disease or disabilities.

She explains the idea for this exhibition came from her own experiences with a chronic illness: “Going through that and you know, all of the medical circus that surrounds all of that. So, sitting with this, I [thought], ‘how can I turn this experience into something that I can both share with people in an empathetic fashion to encourage change in advocacy through not just empathy but disability, and how can I support these artists and provide a platform that is not asking them to ignore their physicality in order to be professional artists but embracing and inclusive of all the different experiences.’ This is a great opportunity for platforming these artists, and from a personal perspective, it’s really helped me come to grips with what is sort of the ‘Sword of Damocles’ of a prognosis that they can’t do much with.”

The exhibition features artists in many different mediums—sculpture, performance art, photography, and paintings, to name a few. Local award-winning artists like Kristi Copez and Kate Snow will have their works featured, as well as nationally-exhibited artists like Arabella Proffer and the late Chappelle Letman. Most were artists prior to becoming disabled or chronically ill.

Proffer’s work actually began to change just prior to knowing her cancer diagnosis, as if she had “seen” what was happening inside her body. “Prior to knowing her diagnosis,” explains Alves, “she started switching her work from figurative portraits, that were stunning, to these isomorphic structures with all these tendrils. Interestingly enough, when they did the [medical] imagery, [her art had] mirrored the tumors that were all throughout her body.”

Arabella Proffer, Tantalize, 2018, Oil on canvas, 16 x 20″

An important aspect of the exhibition is to showcase the professionals over their disabilities and to change the way others think having a disability is like. Many artists develop chronic illnesses or disabilities that have no physical effect on their ability to create—it’s just something that has to be lived through alongside their work. Some use their art as a tool for expressing their feelings about having become disabled or ill.

“[Other people may] see the disability first [if] you frame it that way,” says Alves. “Instead of seeing these amazingly talented people who have been to art school… and done the work, [and] their practices are ferocious and beautiful and… powerful, versus, ‘My, how nice of those disabled people to draw us pictures.’”

Workshops at the exhibition range from programs on communicating with autism to puppet-making workshops that allow participants to create images of themselves. Alves explains, “The idea is to create an identity puppet, something that represents yourself or something you want to be or something you hope you are. You can make something that’s basic, [and then choose props to add to your puppet.] [They] take these cool little identity markers, and put them on in a way that feels significant and resonates with them internally. I’m psyched about it!”

The W/O Limits: Art, Chronic Illness & Disability exhibition at the Artists Archives of the Western Reserve runs now through November 12. For more information, see the AAWR’s website.

Deep Roots Experience Art Gallery

By Gennifer Harding-Gosnell

In a small brick building on the corner of E. 79th St. and Central Ave. sits an enclave of hope—four small window front shops: a soul food diner & carryout, a Bernie Sanders campaign office, a shop called the Negro Cultural Center, and on the corner, the Deep Roots Experience Art Gallery.

People have brought their dreams to this place before.

David Ramsey is the founder and co-owner of the Deep Roots Experience Art Gallery. “We first started the gallery as a response to a program for youth we managed at the detention center,” he explains. “We did not have a place to direct participants to once they were released from the system, and it illuminated for us the importance of representation. We also quickly realized there were no spaces dedicated to celebrating and sharing our art in the way that we do.”

The gallery hosts black and brown artists exclusively, most recently featuring the “Remix” art show, a collection of works by Cleveland artists re-visioning their most meaningful album covers. Jay-Z, N.E.R.D., Kanye West, and Future all get “remixed”.

“[We wish to] both empower black and brown artists while providing tangible examples of what success in artistry in career and execution looks like for other black and brown people,” says Ramsey. “Providing space for our work to be received and shared in ways that speak to our culture is an important part of our work.

“What makes us valuable to the city is the intentionality of providing high-level art experiences, while being directly reflective of the community that makes up more than half the residents of Cleveland. We represent over half the city in a way that other spaces have not accepted as part of their mandate.”

When asked about any benefit from the newly-opened Opportunity Corridor, Ramsey said, “[it] is convenient but has not impacted traffic into our space directly. We would love to see more traffic, but without other businesses and investment into the neighborhood, we likely will not see much value from the new traffic patterns. We have ambitions of inspiring other black businesses to come to this community and invest to see it grow. Encourage black and brown Millennials and Gen X to move into the community and invest in a neighborhood. Our vision is to see communities densely populated by black and brown people invested in by people who are members of that same culture.”

Deep Roots is currently hosting the SheArt Exhibition Series, featuring the works of black and brown women, now through August 14th. The theme of this exhibit is the meaning and messaging of the 1997 cult-classic film “B.A.P.S.”

“Historically, black Americans have not been able to fully connect to any culture because our culture was stripped from us,” says Ramsey. “We worked to create customs and culture that speak to us, but for years we have been conditioned to reject ownership of those [successes] when accepted by dominant culture. Once it is seen as valuable, then we give it to whoever wants it. Black culture and entertainment is one of America’s most valuable exports and has been for decades. It is our vision to own the culture and define it without giving it to others; to celebrate us and share our culture without allowing it to be co-opted by others.”

For more info on the Deep Roots Experience Art Gallery, including inquiries about the artwork, see their website and Instagram page.