Liz Ann Miller
"I have aggressively pursued my creative practice during this time, in an effort to center and ground myself despite the ever-evolving circumstances we find ourselves in."
Describe yourself as a maker/artist/creative
I am a BIPOC hair sculptor, creating crowns, headdresses, wearable art and sculpture. Myself and others wear these sculptures while using movement and smoke to cleanse spaces of historical racial trauma on film.
What are you currently working on?
Working on an experimental film, which would introduce myself as a performer, and exploring additional sites of black trauma in Baltimore. I’m also fundraising for film equipment, showing the sculptures, building more headdresses and scouting new geographical sites, near and far.
Has your work shifted in response to the pandemic? How?
Yes, I initially had a huge performance event planned pre-pandemic, where multiple performers would be activating headdresses, in front of an audience. Pivoting for me meant I would work one-on-one with performers and capture them on film. This broadened the concept to speak more specifically to geographical space and allowed the muse to cleanse these traumatically charged spaces we walk through everyday.
In your opinion, what role does the creative process play in helping us confront our “new” reality?
The creative process should be a home for every creative. It is a grounding activity which reminds us of who we are at our center. The act of creating in our particular vein (or exploring a new one) is a grounding practice. I have aggressively pursued my creative practice during this time, in an effort to center and ground myself despite the ever-evolving circumstances we find ourselves in.
Anything else you'd like to share?
Performers in order of appearance from left to right: D Amaadi Coleman, Karma, Dev’nay Kess, Jay Williams. See more of Liz's work here.