JRF Curator - Malachi.jpg

Temple of Sirius

October 6th - 27th

The Temple of Sirius is a sacred site of Black Divinity curated by Malachi Lily (alongside Technical Director D’Andre Jarod Smith).

The heavens have aligned to reveal the Temple of Sirius. Come experience the phenomenon and bring offerings to the altars of Black Divinity. Many deities have gathered here and present their forms to you as black bodies, sculpture, digital media, and the paper arts. Join us on October 6th for an opening reception of singing, poetry, and artistic bounty.

The Temple of Sirius is open to the public.

This DVAA hosted exhibition is supported by a generous grant from the Joseph Robert Foundation.

 

About the Show:
The Temple of Sirius is a sanctuary in honor of our African astrological ancestry, our divine present, and the future we are crafting, all existing in one moment. This exhibition is a declaration, a war-cry, and a lullaby. Together these voices proclaim that their experience is divine. Their present existence is of their own creation; it is holy and infinite. This art is a particular form of self-love, an intimate awareness of a cosmic truth: They are creators. They come as black bodies, as expansive minds, as artists. They come as shapeshifters, prophets, oris, ether, and beasts, all holy in their own eyes of god. This exhibition is the second half to the performative work "Children of Sirius" that will take place at Vox Populi in June. This is not play but a place of pilgrimage for all people, but especially black people, with the intention of waking the divinity within the observer in this colorful and meditative place. Marginalization, trauma, and an engrained erasure is experienced as systems — and passed generationally, — but through collectivity within art and expression we can rewrite patterns and remember who we are. Each individual being's experience is a direct manifestation of creation energy and therefore is never alone. Art, as the energy release of our universe, is never a solo process as we are unconsciously connected and influenced by each other, by other realities, by the earth, tangerines, the moon, trout, smog, woven fabric, skyscrapers, gnats, the list is infinite. The energy of each artist and artwork has found each other once again, and even your energy as observer has returned to us; welcome back to the Temple of Sirius.

I Will Be Loud -  by Alex Farr

I Will Be Loud - by Alex Farr

About the Curator (Malachi Lily):
I am a shapeshifting, nonbinary, black poet, artist, curator, and moth. I connect to the Collective Unconscious via energy work, Active Imagination, mysticism, myth, magic, folklore, and fairy tales. This channelling often takes the form of poetry and illustration but here it becomes curation as I connect to the artist’s energy and work beyond simply aesthetics. I connect artists who are unconsciously vibrating together and use my organizational skills to give them all a space to sing. My curation forms a tangible permeation of a culture of Oneness - living in the reality that we all are manifestations of the same source energy and we all create our realities together. It is my purpose to create space to uplift fellow black artists as gods, to bring balance and truth to our experience. I am a liminal being of race, gender, artistic practice, and existence reclaiming the spiritual body of black and brown people who have been trapped in generational trauma and colonization. My work offers methods to break these individual barriers and reveal the symbols, archetypes, emotions, and lessons that exist in us all as a collective consciousness, to heal, awake, and empower.
maggielily.com @theholyhawkmoth @hawkmothevents.

Artists in the exhibition:

Treeface  - by Obsidian Bellis 

Treeface - by Obsidian Bellis 


Obsidian Bellis
 - Pronouns: they/them
Obsidian Bellis identifies as a Black American non-binary femme person. They were raised in a single parent matriarchal household on the East Side of Buffalo, NY. The maternal side of their family is Gullah Geechee (Southern American) and their father and paternal grandmother immigrated from Jamaica. The women and non-cis men identified people in their family who raised them are people of faith and have done the bulk of labor to keep things together. Older matriarchs also held experience like mixing skincare products, quilt making, repairing clothes, styling hair, creating memorable desserts, and home-brewing. This was the first major impact that valuing higher powers and being resourceful had on their lifework.

ocean (oh-shuawn) - Pronouns: they/them
It is my belief that nature is a powerful part of the universe as well as a key in my personal development and journey as a artist. I am always seeking something that I'm still not sure I can capture, but I’m determined to do so. That is the natural world outside of the developed modern space that I've always navigated and which has occupied much of my work. I seek to find, preserve, and connect with the "otherside" as it seems to serve as a key to my higher/divine self — a self that is there, but one that I have yet to fully embody, and one that is taking its time to develop from every part within.

Alex Farr - Pronouns: they/them
Alex Farr is a nonbinary playwright, poet, vocalist, director, and visual artist based in Philadelphia. They graduated cum laude from Colorado College with a BA in Theater in May 2016 and promptly moved to New York to start their career. They have since worked on several projects in cities across the east coast, were a 2017 creative resident at SPACE on Ryder Farm, and are currently an active member of Philly Arts Collective.
Alex is passionate about art that moves its audience to be better to themselves and each other, art of love and reverence, art of conflict, art expressly aware of the ways in which pop culture passively and actively consumes blackness. Alex ceaselessly aims to explode the idea of a monolithic black identity in favor of a more fluid, imperfect, colorful understanding of self, love, queerness, and queer blackness.

Vitche-Boul Ra - Pronouns: Lix Vaïd or Vaïd
In his primary studio practice, Vitche-Boul Ra utilizes recognizable dance language and colloquial gesture to develop performance works which manifests as play. The work applies irrationality in combination with the notion of dance as recreational labour to explore experiences of elitism and the mundane. Typically the performance attempts to unclearly articulate the relationship between performing body and viewing body. This is accomplished through language and spacial relationships—always building a matrix of power in flux with shifting accountability.
Through repetition of gesture, doggy language, and direct questioning, Vitche-Boul Ra manipulates real time and recollection. He establishes a game inside the viewer, confronting them with their own memory, resulting in the reaffirmation of their securities while simultaneously destabilizing them. Can they follow, or better yet, aren’t they leading? This technique opens up the performance space as a grounds for play—a hunting ground and a jungle gym.
Particularly in video, the works become unhinged playscapes for the body to occur in. Dealing with cyclicality, rhythm, antagonistic happenstance, and misplacement, Vaïd utilizes video space to generate unorthodox quests. Videoscape is used as a tool to reveal truths within the practice and furthermore immortalize the process of questioning, and questioning fictions, that becomes prevalent in the live performances. In this method, the body—and it’s baggage—are ejected from the “real” and placed into a dangerous site of scrutiny and imaginative intangibility. Vitche-Ra allows sound, dislocated text fragments, and muddy technicality to read the body to filth, resulting in a Digital Mysticism.
Expanding this conversation into the quotidian self on the street, Vitche-Boul Ra investigates the many selves inside one form—the complexity of the physical body space. Experiencing his own body as a hosting vessel, Lix Vaïd reimagines the multiple self inside the corpus form as unstable to allow for abrupt transitions of linguistic style, cultural conditioning, and coded movement resulting in “P.E.”—the Performative Everyday [life].