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baba iya

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curriculum vitae

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what if artists weren’t only makers of images and words, but co-conspirators in societal transformation? what if we made marvelousness with the masses whilst composting the cruel corporatocracy? what if we organized artists, writers, and culture creators to take part in this transition from image, art, “word to world?” These are the questions that guide socialist surrealism—a synthesis of movements and theories guided by observationg herstoric constellatory connections of creative revolutionary and liberatory practices across the globe.

my poetic practice began in grade school, but it found authenticity in college crafting love letters for friends. gay gifts grew alongside gratitude for gaia, emerging from meditations with Mother Earth. Poly presents precipitated into psychic automatic poems as i pranced across prairies. Then bloomed into collaborative creations through surrealist games. All along the way, we dove deep into histories of resistance and struggles for decolonization and liberation. These studies nurtured insurgent imaginations—visions that poured into drawings, collages, designs, poetry, and paintings. Each piece a symbolic and strategic expression, meant to inspire organizing and kindle cultural revolution.

Since coming to wander by the waters of Wašíŋ Wakpá, i have conducted a localized education and art distribution campaign to combat American exceptionalist propaganda. Beginning with a series of linocut carvings, graphics woven with surrealist quotes—like “Comrade Eros Makes Love & Revolution” by René Depestre and “Treason to Whiteness is Loyalty to Humanity” from Race Traitor, we stamped them onto political education booklets. These were then distributed in Little Free Libraries across the city. This blossomed into art builds where comrades and community members came together to make agit-prop, watch revolutionary films, share food & drink, receive acudetox, and recite poetry—all free of charge.

Through studies and discussions within an organized anti—colonial colonial book club, i came to create a visual synthesis of Paulo Freire’s "Pedagogy of the Oppressed," paired with a proposal for a local autonomous governance test project. That work is still emerging as the seeds are shared.

This past November, we published and blossomed a femifesto for socialist surrealism within a soirée of communistic camaraderie; an evening abundant in conversations with communal oracles, collages of femme fatale luminaries, quotation cards, dazabaos drawn up to decry dystopia, enchanting libations, transcendent tattoos, poignant poetry, cunty chaos, and so much more marvelousness.

Our inspirations are wide-ranging: the Césaires' surrealist manifestos, the revolutionary aesthetics of The Red Detachment of Women, the fiery poetics of Amiri Baraka, the communizing cultural troupes of Eritrea, the +++. I draw from the Zapatistas, the Black Radical Tradition, Third World feminisms, Transcestral Tapestries, Slavic folklore, and Indigenous resistance movements. I’m in conversation with artists and organizers who know that new worlds are already being born in the cracks of the empire.

art

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Words words words…

Words words words…

Words words words…

🌟📕 Study, Reflect, Create! ♥️✨

🌿🦋 Frolicking with forest friends, engaging in independent and group study, collaboratively creating alongside @dystopiantimesmedia , and sweetly socializing with the @acab.baes ; I’ve found myself, and my art ~ femifestations of socialist surrealism ~ invigorated and illuminated with our communal cultivations. The poem on slide 10 and the art on slide 9, are a couple fruits bore from a sapling whose soil was recently nourished by dialectical discussions and study of FMLN revolutionary Nidia Diaz’s book “I Was Never Alone,” in addition to, “For Our Total Emancipation: The Making of Revolutionary Feminism in Insurgent El Salvador, 1977-1987” by Diana Carolina Sierra Becerra ~ both accessible by scanning the QR codes on slides 7 & 8. 🌀🌼