The body is a physical text in society, layered of historical and contemporary depictions both on macro- and microlevels. The body is always on view, specifically the female body and most especially the black female body. One of the greatest tragedies inflicted in the world is the objectification and dismemberment of the black female. It is a stain that has become institutionalized and highly publicized. However, a new epoch of humanity, cultural continuity, politics, and fecundity has ensued. This “modernism” as it is taught in contemporary curricula, launched unto the world as an ideology called feminism or womanism. No longer parading from one invisible corner to the next, the black woman does not allow herself to fell victim to the empire of patriarchy and its ego. What is even more indelible is that the legacies of black women are being etched into the carvings of contemporary art. “People are not really ready to deal with fierce female passion,” said Alison Saar who is one of leading contributors amongst black women in the arts. I am getting older and now understanding who I am as a woman: my sexuality, femininity, fertility and beauty. I am understanding who I am as woman corresponding to man. It took many unfortunate occurrences for me to realize, and it’s quite a shame how naïve I was, but I have concluded that I am an object. I am an object that is mal-treated, disregarded, and disposed of when seen as no longer good. Now let us consider that it wasn’t till the 1980s that the world has recognized that the objectification of female is an actual problem that needs to be considered and rectified.
Thus forth, in analyzing this reality, The Matriarch series is a counter-story that visualizes the literal objectification of man as they become nothing but having the sole purpose of providing me with comfort.