photo by Jim Barcus
The 2024 Charlotte Street Visual Artist Award fellow addresses urban displacement and resilience, as seen in an impressive showing at The Nelson-Atkins Museum of Art
The yin and yang of life is something 2024 Charlotte Street Visual Artist Award recipient Aleah Washington’s art encapsulates. Her exhibition “Slowly Drifting,” at The Nelson Atkins Museum of Art, features a vibrant collection of colorful quilts and detailed colored pencil drawings. These works illuminate the disruption and impact of urban displacement while spotlighting the resiliency of the people affected.
Washington’s exhibition greets you with a warm orange background and colorful shapes and patterns in an enticing array. As you enter and take a closer look, the story of loss and strength unveils through the intricate patterns and emotional narratives depicted in pencil drawings.
“This exhibit is about exploring how division of land and people contributes to a lasting legacy of urban decay,” the artist said in a recent interview. “My use of color and patterns in solid areas examines the current effects of historical maps. Through quilting, I build pathways that connect small cuts of fabrics that represent different cultures and histories.” When combined, she notes in her statement for the exhibit, they “create unity and demonstrate a new strength” that was once lost over time.
Washington, a Dallas native who received her BFA from the Kansas City Art Institute in 2022, draws inspiration from oppressive systems such as redlining, the discriminatory practice of denying financial services to certain neighborhoods based on race, and displacement caused by urban redevelopment. She also reflects on urban decay, which highlights the neglect of infrastructure in marginalized areas, and America’s strained relationship with natural resources. Through energetic colors, patterns and textures, she strategically tells the stories and conveys the emotions of those who have endured these injustices, including her own personal experiences.
“What personally inspired this exhibit on urban displacement was what makes a place feel like home and how instances like gentrification, moving, and natural disasters can force people away from that,” she said. After returning to her hometown of Dallas after college, Washington witnessed the effects of gentrification firsthand — grocery stores closed, local businesses shut down, corporate interests taking over — leaving her feeling aimless and that she could never return home again since home as she knew it had completely changed. “This sparked the idea of drawing a location the way it was before it changed.”
The intricate patterns that weave like roads and rivers across a map in her quilts also inform her pencil drawings, “Highway Routes.” The drawings pay homage to her Texas roots, showcasing maps of the Dallas and Fort Worth highway systems with the Kansas City redlining map layout on top. “I wanted to show how these segregated government layouts were used all over the United States, especially in major cities,” Washington said. “I want the audience to remember the warmth of nostalgia when reflecting on the past but understanding that having empathy for others can build connections.”
Washington also drew inspiration from the local neighborhoods in Kansas City and an unexpected source — video games.
“Everywhere I go, I try to see how life is lived and if it feels familiar,” she said. “Moving to Kansas City helped me to continue to nurture my art by exploring different materials. Driving through the city, you can see how funding is allocated in various neighborhoods. There’s a palpable history in the streets — places and people have been segregated, and urban decay is unfolding right before our eyes.” In contrast, “Playing video games gave me the freedom to go on adventures with the luxury of not getting lost. The maps piqued my interest because I could focus on a main mission while being invested in a side quest all at once.”
Washington was intentional about her choice of colors for the exhibit, using them to reflect both the beauty and disappointment of resilience.
“Color, shape, and texture always get me excited to make art. I chose orange for the gallery walls because it represents either sunrise or sunset. When looking at a place, there’s an extra layer of beauty at these times. Exploring maps and the essence of people at the warmest moment is what I want the viewer to feel. These topics are heavy but coexist with the reality of life because people are resilient.”
Washington’s art is an ode to the multifaceted nature of life — its intricacies and contrasts — essentially, the notion that two truths can coexist. While the art conveys the tumultuous emotions of those affected by urban displacement, the bright colors offer hope and envision a path forward, honoring the resilience and dignity of those affected.
Looking ahead, Washington plans to feature pop-up art exhibits across the Kansas City metropolitan area, including an upcoming exhibit in the Crossroads Art District in the spring (exact location and date to be determined). Her exhibit at the Nelson is one of three concurrent solo exhibitions featuring works by this year’s Charlotte Street visual artist award recipients, including Juan Diego Gaucin and Kevin Demery. (See our story on the three exhibits, page 60.)
“Aleah Washington: Slowly Drifting” continues at The Nelson-Atkins Museum of Art through Aug. 10. To learn more about her work, visit aleahwashington.com or her Instagram (@aleah_sweetlikehoney).
