NYU Black Renaissance Noire Volume 18 Issue 1 - Winter 2018 - Page 110

SHORT STORY

The Distance Between Land and Sea

By Ijeoma Umebinyuo
Two nights before my father left for America , some friends of my parents gathered for his sendoff party .
The women were wearing their bright wax prints in different designs . They had their hair covered or in a new hairdo . It was , after all , evening , and most had gone to the salon after church , after cooking and eating lunch with their families .
PHOTO BY RUI SILVESTRE ON UNSPLASH
Auntie Nwakaego , who refused to get married , wore her bright eyeshadow , her purple lipstick , and unlike all the other women , her trousers were sewn from red and black wax prints . She wore a hat to cover her skin from the sun . She stepped out of her car with her sandals showing her neatly manicured toes . My mother ’ s only sister , a newly appointed manager at one of the recently merged banks in Lagos Island , had her hair neatly braided into two braids , finished at the end with a red ribbon , and her skin was covered from head to toe in her most stylish fashions , trousers she had made from wax prints instead of making skirts or wrappers like the other women in the party . She had albinism and was nicknamed , “ onye ocha ”, which made her laugh . White person . The irony . She hugged me tightly and gave me sweets , chocolates from her most recent trip to London .
54
visual arts Foad Satterfield m Meadowlands #1, 2012 Acrylic on paper 32” by 42” r Meadowlands #2, 2012 Acrylic on paper 18” by 20” m Epic J L Diptych, 2017 60” by 192” m Lillie Panel Diptych, 2017 48” by 100” It was through my solo endeavors in my personal work space that I learned that making paintings is an ever-unfolding and expansive process, one that offers infinite possibilities for self-expression and limitless visual inventions. Throughout the years, I have explored and incorporated ontological issues in my works and have been particularly drawn to the profundity and spiritual qualities of nature. I find that by just being still, quietly absorbing what I see, and looking lovingly into what is real, exquisite patterns and relationships of textures, colors, shapes, and planes jump out at me. It is in those moments that the substra Hو]\x&\[X]B[\^[\ۛX]]HY[H]X[YYK^H^\Y[X[\^BوXZ[Hٙ\[ۘ[\\Y[[ NM[H[Z]Y^\[œZ[[[\X\YHY[[[Y\][K[YܛXK