A.Statement.:
As pirates and slaves had their own songs, dances and codes for communication, Jenny.Was.A.Pirate.Hater is my work inspired by the social code
(hip-hop,vogue, capoeira, spirituals) of oppressed groups building solidarity in collusion. As a queer Afro-Caribbean woman born in the United Kingdom,
the cultural cross section of pirates and slaves evoke many global questions. This encompasses former and current existences of fringe groups operating in
collusive resiliency and often targeted with exploitive servitude to capitalism. I often think of BIPOC ranchers, cowbois/boys/grrls, farmers, maroons, pirates and
the “undocumented” fueling our service industry and bringing you the food that is consumed. Pirate Jenny (PJ), my time traveling persona - is my answer. PJ is a
time traveling nomad.Her wearable, self-crafted tools, inspired by ancient sea mariner instruments are currently dual purposed for farming and fighting narcissism, shuttle her throughtime on her adventures. PJ embodies the Atlantic Slave Trade's 16th century meeting point with the Golden Age of Piracy, and also reflects my experienceas an "othered" immigrant living in the US in this blended landscape between tactile land and the continually evolving digital landscape.
Currently, I am palpating a deeper connection with Pirate Jenny’s tools - going beyond their purpose and functions and intentionally experimenting with drawing
and welding for conceptual tool redesigns around agriculture and fighting narcissism. These inquiries reflect time spent on land immersed in BIPOC farm justice
during Summer 2021 and wanting PJ’s tools to mirror not only the agriculture I was so new to, yet so in tune with - but also the personal realizations uprooted
during the pandemic around toxic family patterns, their tolerance in my life and how healing could be designed and navigated for current and future systems.
Other works in thought include ‘Till this Othered BodyLand’ (working title), posing inquiry to the Queer Black Themme Body as landscape, site of provision and
source of Black Joy. ’A Vanderful Life’, a vision/lovenote/proposal in progress centering Queer, Trans LGB2IA+BIPOC artists and farmers in a model of earth tending
that reimagines land stewardship, uplifts art, mobility and prioritizes culture and community care.
Reed, bamboo, music manuscript, radio antennas and sound have had their foundational presence throughout my performance based work. These materials
reflect the ritual and meditative act of writing, reciting, bending reed, binding bamboo, tuning in, searching and listening. Reflections on being Queer, Black
and Immigrant and having survived work on the frontlines of the service industry are reflected in 'The Biographie of Service'. 'Biographie’, a core yet ongoing
and evolving work using live drawing, storytelling, figure modeling and immersive personal narrative around initial auto immune challenges. ‘Biographie’ has
also introduced aspects of PJ’s tool making process while bridging self reflection across active viewer engagement. Another piece,’Hung' - performed in Sweden
and introduced in Serbia via necessity for clean clothes (during a Franko B performance workshop) - is a viewer centered work examining social and
cultural perceptions of hand washing garments. ‘Hung’ is also created within inquiry to my own memories of similar clothes upkeep as a young child.
Lastly, ’#Pirateradio,' a pirate radio show hosted by Shola Cole aka Pirate Jenny centers site specific history around pirates and current social movements
with collaborators and invited guests and evolving, yet relevant topics. The performance takes sculpture, performance, self portraiture and the act of dialing
and tuning into the radio as a way to navigate the airwaves as pirate territory. #PirateRadio also explores time travel by examining historical alliances between
pirates and slaves, while creating dialog around those practices in social justice in the 21st century.
My motivations lie deep in the history of collective bonds fueling the working differences and connections between communities. The embodied responses
and rebellions to systemically dehumanizing institutional practices gives me a deeper meaning around concepts of social choreography. As my initial research
into pirate and African slave partnerships and other communities evolves, this work provides me with historical inquiry and personal clarity around my own
ancestry within larger societal experiences.
(hip-hop,vogue, capoeira, spirituals) of oppressed groups building solidarity in collusion. As a queer Afro-Caribbean woman born in the United Kingdom,
the cultural cross section of pirates and slaves evoke many global questions. This encompasses former and current existences of fringe groups operating in
collusive resiliency and often targeted with exploitive servitude to capitalism. I often think of BIPOC ranchers, cowbois/boys/grrls, farmers, maroons, pirates and
the “undocumented” fueling our service industry and bringing you the food that is consumed. Pirate Jenny (PJ), my time traveling persona - is my answer. PJ is a
time traveling nomad.Her wearable, self-crafted tools, inspired by ancient sea mariner instruments are currently dual purposed for farming and fighting narcissism, shuttle her throughtime on her adventures. PJ embodies the Atlantic Slave Trade's 16th century meeting point with the Golden Age of Piracy, and also reflects my experienceas an "othered" immigrant living in the US in this blended landscape between tactile land and the continually evolving digital landscape.
Currently, I am palpating a deeper connection with Pirate Jenny’s tools - going beyond their purpose and functions and intentionally experimenting with drawing
and welding for conceptual tool redesigns around agriculture and fighting narcissism. These inquiries reflect time spent on land immersed in BIPOC farm justice
during Summer 2021 and wanting PJ’s tools to mirror not only the agriculture I was so new to, yet so in tune with - but also the personal realizations uprooted
during the pandemic around toxic family patterns, their tolerance in my life and how healing could be designed and navigated for current and future systems.
Other works in thought include ‘Till this Othered BodyLand’ (working title), posing inquiry to the Queer Black Themme Body as landscape, site of provision and
source of Black Joy. ’A Vanderful Life’, a vision/lovenote/proposal in progress centering Queer, Trans LGB2IA+BIPOC artists and farmers in a model of earth tending
that reimagines land stewardship, uplifts art, mobility and prioritizes culture and community care.
Reed, bamboo, music manuscript, radio antennas and sound have had their foundational presence throughout my performance based work. These materials
reflect the ritual and meditative act of writing, reciting, bending reed, binding bamboo, tuning in, searching and listening. Reflections on being Queer, Black
and Immigrant and having survived work on the frontlines of the service industry are reflected in 'The Biographie of Service'. 'Biographie’, a core yet ongoing
and evolving work using live drawing, storytelling, figure modeling and immersive personal narrative around initial auto immune challenges. ‘Biographie’ has
also introduced aspects of PJ’s tool making process while bridging self reflection across active viewer engagement. Another piece,’Hung' - performed in Sweden
and introduced in Serbia via necessity for clean clothes (during a Franko B performance workshop) - is a viewer centered work examining social and
cultural perceptions of hand washing garments. ‘Hung’ is also created within inquiry to my own memories of similar clothes upkeep as a young child.
Lastly, ’#Pirateradio,' a pirate radio show hosted by Shola Cole aka Pirate Jenny centers site specific history around pirates and current social movements
with collaborators and invited guests and evolving, yet relevant topics. The performance takes sculpture, performance, self portraiture and the act of dialing
and tuning into the radio as a way to navigate the airwaves as pirate territory. #PirateRadio also explores time travel by examining historical alliances between
pirates and slaves, while creating dialog around those practices in social justice in the 21st century.
My motivations lie deep in the history of collective bonds fueling the working differences and connections between communities. The embodied responses
and rebellions to systemically dehumanizing institutional practices gives me a deeper meaning around concepts of social choreography. As my initial research
into pirate and African slave partnerships and other communities evolves, this work provides me with historical inquiry and personal clarity around my own
ancestry within larger societal experiences.
© 2013-2023 All Rights Reserved OA Cole