Whispers to Walls: Reflecting on My Senior Exhibition Journey
Introduction: The Journey Behind Whispers to Walls
Stepping into the production of Whispers to Walls, I initially had grand visions. I told myself, "I can do this!" I laugh now, remembering my blind confidence—confidence so strong that when others questioned if I was out of my mind, I’d smile and say, "Yes, but I’m fabulous, and it always works out!" In hindsight, I realize this was the wrong way to approach the culminating exhibition of all I’d learned at the University of the District of Columbia (UDC). My attitude screamed “hurried and unprepared”—not exactly what you want to project at your final show. Yet, at that moment, I was so eager to cross the finish line, much like I was during my undergraduate years.
My time at UDC wasn’t unpleasant; it was the looming uncertainty of the future that fueled my anxiousness. My journey is anything but traditional—yet uniquely mine. I found myself in college at the age of 39, having climbed the corporate ladder in administrative roles. Without delving too deep into the struggle of advancing in positions often seen as “menial,” I knew early on that corporate life wasn’t for me. So, leaving behind a career that never truly resonated with me was not difficult.
This senior exhibition marked the end of a journey driven by the mindset of, “I just need to finish.” That single focus blocked out distractions that might have otherwise led me to quit. However, that same focus also prevented me from fully immersing myself in some experiences that could have enriched my time had I pursued college at a younger age. With this exhibition, I applied the same determination: finish. This drive continues to push me toward my current dreams. I remind myself that quitting would be a greater failure than any perceived flaws in my final show.
Artwork Showcase: The Stories Behind the Pieces
The exhibition features four portrait pieces, each created using a different medium to showcase the diverse methods I learned at UDC. Each work is named after the middle name of the subject, with all subjects being pivotal women in my life: my maternal and paternal grandmothers, my mother, and myself. These women reflect the lessons I’ve learned from them and the profound impact they’ve had on my journey. All of the pieces were created on unbound canvas or fabric and were hung on plywood by stapling them directly to the wood.
Loula Ree
The show opens with a portrait of my maternal grandmother, Annie Loula Ree Fleming. For this piece, I worked with five colors of copy paper, which I shredded and blended with water to create pulp. Instead of following the traditional papermaking process, I shaped the portrait by layering clumps of the pulp directly onto the surface. Given the size of the piece (66 x 64 inches), I couldn't fully remove the water during the initial process. I used a paint roller to press out most of the moisture before letting it dry in the sun. Finally, I adhered the piece to a large fabric that was, in fact, a shower curtain.
Ann
Next in the exhibition is an acrylic painting of my mother, Edith Ann Greer. I was fortunate to create this portrait while she stayed with me as I prepared for the show. She patiently sat with me in the studio as I sketched on canvas and took reference photos. This piece reflects both our past relationship and how we communicate today. Throughout my life, my mother has faced various health challenges affecting her physical and mental well-being. I chose to depict her seated on a golden throne, symbolizing the power she still holds, despite relying on numerous medications to get through each day. I adorned her with a crown made from rhinestones gifted by a friend who inherited them from her grandmother. The piece measures 72 x 58 inches and is painted on canvas.
Maureen
The third piece in the exhibition is a tribute to my paternal grandmother, Arletha Maureen Brooks, after whom I am named. Measuring 83 x 58 inches and created with oil paint on canvas, this narrative work delves deeper into her story. The Bible she holds symbolizes her unwavering faith, a cornerstone of her daily life. Her raised right hand, eyes closed in prayer, illustrates her spiritual connection and devotion. She stands on a purple brick road, representing her roots and the foundation laid by her ancestors—the prayers and sacrifices that allowed her children, grandchildren, and great-grandchildren to flourish. The plants flanking her signify resilience and growth in any environment. Finally, the halo behind her head, reminiscent of classical depictions of Christ and saints, emphasizes her divine grace and the reverence she commanded. This painting is filled with elements that invite deeper exploration and contemplation.
This piece was co-created with Angel Avila, who played a significant role in painting much of the portrait work, particularly the clothing and the brick road. The collaboration enriched the piece, bringing out the depth and detail that fully conveys my grandmother’s legacy.
Renee
The final piece in the exhibition is my self-portrait, the largest of all the works, measuring 96 x 76 inches. For this piece, I used fabric from clothes I’ve worn over the past 20 years, representing the person I was during each stage of my journey. By incorporating these fabrics, I wanted to emphasize that while we may start in one place, we have the ability to grow into whoever we choose to become. The clothes reflect the phases of our identity and the armor we use to navigate those times. They can transform us into a new version of ourselves, just as they symbolize the artist I am today. Using these fabrics as my medium, I showcase my growth—where I came from, who I am now, and the endless possibilities ahead.
The foundation of this piece was drawn by me, and I collaborated with fellow classmate and artist Jonathan Fuentes, who executed my design under my guidance, bringing my vision to life.
Lessons Learned and Looking Forward
What shines through the most is that I did it. I showed up. My work was seen by people who had never been to an art exhibition, by those who had never encountered portrait art in the style I presented. Many stopped to talk with me after reading my artist statement, curious about what kept me going and what motivated me to share my art with the world. My answer? Representation and the belief that there’s always another way. I want to show young Black girls that their youth is an opportunity, not a limitation. There is value in searching out the hidden and shaping it to fit our vision of ourselves.
The opening of my show reflected everything I learned at UDC: perseverance, the importance of community, and the belief that your first attempt doesn’t have to be perfect. It was heartening to see people come out and support me. Those countless critiques in art class prepared me to discuss my work with confidence—explaining my choice of medium, subject matter, scale, and technique.
One of the most valuable lessons I’ve learned at UDC is the importance of relationships. My classmates, Johnathan Fuentes (Renee) and Angel Avila (Maureen), who started this journey with me, played crucial roles in helping me bring my vision to life. UDC taught me about community, teamwork, and the power of diverse perspectives. It also showed me how to recognize and nurture talent, encouraging those you admire to shine more brightly in the world.
Although this senior show began with ambitious ideas and concluded with a representation of who I am, my pride isn’t just in finishing—it’s in the realization that this is another milestone in my ongoing journey. The experience reminded me that showing up and offering what you have in that moment is enough. It’s a foundation for growth, propelling us toward greater success in the future.
