Q&A: How to Make the Most of a Memory with Felicia Wheeler
Visual artist, Felicia Wheeler
Visual artist Felicia Wheeler is like really creative. Read the Q&A from our interview available on YouTube, Spotify, and Apple Podcasts.
ZACK ORSBORN:
I am joined by Felicia Wheeler. She is a phenomenal artist. I found her on Instagram. It's a mixture of mixed media, abstract art, colorful embroidery, tufting, beadwork. So I had to have you on. So thanks for joining me.
FELICIA WHEELER:
Thank you for having me. I'm so excited to be here. I'm eager to hop into Felicia Rachelle, the artist.
It has been a long time coming, and this is the first time that I've been able to really just fully be in that. My background is arts administration, and so I've been of service to artists and advocated for artists for quite a multitude of years. And so to be able to just take what I've learned and pour that back into myself, it is just been—it's been an interesting time.
Last year was very interesting, but in the best way.
ZO:
What made you want to take the leap to, like, go full force? I was reading one of your Instagram stories, and you're like, “I'm redirecting. I'm rededicating.” What was that about?
FW:
Yes. So that was quite a metamorphosis. The end of 2023 and the entirety of 2024 was tumultuous for me.
And so I use the analogy—I have a background in ceramics and so in clay, it can dry out and get to a point where it's not workable. But if you submerge it in water, it can reconstitute and you can kind of wedge it back and it's malleable again. And that's what it felt like—the submerging or feeling of being underwater, was actually the process of softening me back to become something better than what I previously was.
And so that is the space in which I'm choosing to lean as far as my experience. I think there is a subset of people who know me and associate me with one area of my life, and they do not know me as an artist or my creative background. And so I just decided to bet on myself and fully hop into it.
And I'm grateful that I had the year that I had, because I wouldn't have been able to produce what I made. I wouldn't have found the time. I don't think I would have carved out or prioritized the time.
ZO:
I relate to you 100% there. You know, there are those down periods. But when I have those periods—now, at least—I'm like, oh, this is me hybernating and soaking things up.
It will come back. There's a faith. What keeps you going back to creativity? Why do you keep coming back?
FW:
It is my sanctuary. I think the purest part of me is my creative self. I feel closest to the energies, the universe, the creator. Outside of that, I don't know if I have words for really. We talked a second ago about how art transformed and saved my life. Honestly, it has happened a couple of times. Early 20s, running around with folks that I shouldn't have run around with. And I was like, “You know what? I'm going to leave this alone and go do the art thing.”
And so that was a moment. And then back in 2020, during the lockdown, I had had a terrible anxiety attack, and I didn't know, for the first time, I couldn't see where I was supposed to go, like the path. And I freaked out. Because I pride myself on being solution oriented, and for the first time, I didn't have a solution.
I was like, what? What to do? What to do? So, I kind of sat. And I was very angry. Taurus Sun, Taurus Moon, Libra Rising. Five Aries placements. I was very angry. But I had a dream. And also, there was a hiring freeze, and I had just been let go from my graphic design job that I had.
So no money coming in and no way to see in the near future to have something stable, because there was a hiring freeze across the country.
And so I was angry, and I had a dream that I had gone back to my grandmother's house. Before I fell asleep, I fussed at my ancestors. I apologize to them every day.
Let me put that out there. I fussed at them when I said, “This is not fair. If you are going to give me a break down, you have to give me a break through. That is not fair.”
ZO:
That just gave me chills.
FW:
And I cried. I cried myself to sleep. And the dream that I had, I was in my grandmother's house and it was as if I were the age that I was when we lived with her.
I was a small child, a little older than in the photo. And I just remember looking up in the hallway, a small corridor, and there was a sand art picture, retro, from, like, Sears—when Crosstown was Sears and you could go shopping there. And it was sand art of like an elf.
Kind of like the Keebler elves. Something funky. But I loved it. I loved it so much. And there were these ceramic shapes. It was a mosaic of sorts as well. And that was it. I woke up, everything was like the coloration. I dream in color. And so the color of the dream was really rust and like, sunset-ish.
But it was morning, so it wasn't—I don't know, it was weird, but I woke up and I was like, okay. And so I sat with that and I made that first tufted piece. It’s like an abstract shape, an arch, and like a circle, tufted, and I just painted on, you know, pierced the canvas. And I felt really good about it.
And I had spent days doing that, post-that dream. My sleep schedule was wrecked. My mom had caught Covid before we really knew what it was. And so, I slept—for weeks, I know I slept two hours a day, if that—I was terrified. I would wake up and go check on my mom and make sure she was okay, if she needed anything, and then I would pass out from exhaustion.
I was too scared to sleep, while she was sick. But in that time, to keep myself awake, I worked. I just worked on pieces and started to post them. And people really liked them. And then almost every time I posted, in about 15-20 minutes, the pieces would sell out. Like I would sell the piece. I love those abstract pieces.
They are like jazz to me. Honestly, when I'm ideating about the abstract paintings, that's the only time I listen to jazz, really. It doesn't work with any other thing that I do. I don't like to listen to it. It kind of clashes, but that helps really get me in a state of flow, because I don't preplan the abstract pieces.
I just kind of sit with it, I stop, I stare at it for a while, and then I know placement for the next piece or section of it.
ZO:
That's such a good story, especially like arguing with your ancestors. Which is also something I read on either your website or Instagram. How did you learn how to get connected to your ancestors?
Why is that important to your art?
FW:
I think it's so important because the gifts that I have are from them. Right? And so maybe they didn't utilize the skillset in the same way that I do. But I know, it comes obviously from practice and tediousness, meticulous, like just working tirelessly. But in this life, in my life, this is what that looks like.
In their life, I don't know what that looks like, right? So we can make inferences and we can go back especially. Well, I'm indigenous, African-American. And my dad's side is from Barbados. And so historically, we know some work like slavery and working in fields and that tirelessness, the usage of hands and how—hands are important in my work because of all the ways that they can show up in people's lives.
They can help, they can hurt, they can harm, they can heal. And so hands are just really important to me.
But I think about time. It's obsessive and it's a tangent that I don't necessarily want to hop to, but I think about a lot of first, you know, like on TikTok, how the trend was like the Roman Empire—like what do you think about every day? I think about firsts. What is the first, you know, human experience with the thing. That piques my curiosity a lot. So I think about the first time my grandmother made something that she really liked. She's not here. She passed when I was 16, so she's not here for me to ask her.
But you know something that wasn't out of necessity? What does that feel like? Because I know what it feels like for me, and I'm intrigued to know or to think about the ways of knowing what that might have been to them. And so my work has always been about my matriarch, just honoring the women in my life. I come from a very female family.
Like, it's a lot of women in my family. In my immediate family, we have one male. I've got two sisters. I'm the middle child. I've got two nieces, and my nephew, and my mom was a single mom, single parent.
ZO:
Shout out to single moms.
FW:
Period. Period. Yes.
ZO:
My mom was a single mom, too.
FW:
Making it happen, making it happen.
She's the strongest person I know. It's like that drive and that determination and resilience really seeped into me.
ZO:
It's super human. I think about what age I am right now, and I think about my mother and the fact that when she was my age, she had three children. And I'm like, in what world would that be reality for me?
None. No, no. It's just her strength. Mama's strength. Right. Like it's just—I don't know, I'm just always so proud of her. Like beating the odds and the stamina, the tenacity to keep going. Life be lifin’ and life will beat you down. But to constantly and consistently show up and make some shit happen.
In any moment when I feel just deflated. I call it Eeyore because Eeyore was always so [mopey]. In my Eeyore moments, I look to them. That is the closest example, like the actualized physical manifestation, of keep going. That's them. And so I think to them. I think about moments that, as I was younger, maybe I didn't have the full context of the situation, but I know it was hard.
I knew enough to know it was a hard time for my mom. And I think about how she pulled through and that's enough for me to get up. Stop being sad about it, at least for now, and get something accomplished.
ZO:
Speaking of getting things accomplished and getting shit done. And being meticulous. If you can hold [your art piece] up.
You introduced this on your Instagram story, it was kind of like an essay, where you were talking about getting back into it, how proud of this piece you were. Talk about the beginning of this. Talk me through your process, the idea, what this piece represents to you.
FW:
So this piece is titled “Way Up There.” It's actually reversible. It is oriented the right way. So this piece, I had gone to—this idea has been in my head since middle of December 2022. That just goes to show, like the work, like my day job, the work being the work.
And so just only having enough time to think about, to obsessively think about this. How I was going to get it out of my head, what materials made sense to actualize it. So December 2022 I had just gotten back from Miami from, showing at NADA, the New Art Dealers Alliance, for Art Week Basel, whole thing.
And so it's just like this oversaturation of all of these things that all of these people from all over the world are thinking about and making. And so you just, you get to spend all day looking at other people's ideas and art and color combinations and things that I hadn't considered or thought about. And I started to think about, okay, well, if I were to show in a booth someday, what would I want that to look like?
And I started thinking about it, and I thought about all the makings of me. I like video games. I like pixel art, I like memory, I love my mama, I love my matriarch. Well, how does this make sense? How can I blend seamlessly me and my grandmother and my history and my background, all these things.
And initially it started off with something that I'll revisit, but I was testing. So my testing, my sketches are just smalleresque, renderings of what I want to do large scale. And so I started with diamond dots. It's like a color by number, except you're using these sparkly rhinestones to kind of play it.
And so it's a pretty sparkly picture. And I was like, oh, I could, I could maybe do that. And so I started working on that back in, end of December, like February. It was when I kind of really locked in and I didn't fully finish it. The purpose of that was to figure out if I could scale it and I can.
So I didn't spend more time on it because I knew I could do it. It's just a matter of figuring out the mechanics and processes of what needs to happen to do it. So I've got that part tucked away. So we'll revisit that in a couple of years. And then I thought, this is quite a bit of an undertaking.
So I know I want it larger and I know how to do it larger. I just don't think now's the time to. So I wanted to pivot, and I wanted to be intentional about working small because of the access of space that I had. And so I'm in a small apartment. I don't want to work on something that's going to take up a lot of space that I already don't have.
So what can I do? And I started thinking about materials. Multiples. So buttons, beads, diamond dots if I was going to continue. I feel like I thought of something that was super weird too. Oh, oh, just mosaic tiles and glass tiles. I just went with beads. I felt like they were quality, timeless material.
Don't take up much space. A vile you can just kind of have sitting around and it sits on your desk, is not super heavy, cumbersome lifting, movement, all of that. And then the thing is, there is another size down from this. And I feel like that's insanity.
ZO:
You got to have tiny hands.
FW:
So I had decided beads was what I was going to do.
And then I needed to take time because I've never done this before. This first time I've done this. So I needed to take time to teach myself. And I sought out on YouTube, indigenous people to learn from, to make sure that I wasn't doing something that could have been—I started to overthink, and I was like, I don't want to be offensive.
I mean, this is me. I am Native American, but I don't want to take something, you know, and use it in a way where someone might take offense. And so, then I started to go down a rabbit hole of all the forums where they talk about, is this okay? And it's not even necessarily from a lens of me being black.
It was white people asking this, but also too it’s just, in general, if you are not on the reservation, is this okay to do and practice? And so there are so many people saying, yeah, it's fine. We encourage it. There are certain color combinations that mean a thing depending on where you are, and that is where you start to toe the line of like, all right, you need to—that's not cool.
But for any other purpose, creative purpose, it's fine. And so I felt comfortable enough to continue. So immersing myself in all the stitches. Do I want to do gourd stitch, brick stitch, peyote stitch? Which is what I ended up doing. Which I should also note, the cactus or the name that it comes from is a drug apparently.
And I didn't know that.
ZO:
It’s like a spiritual, hallucinatory drug that a lot of people take to, like, have a transformative spiritual awakening.
FW:
I don't know, I feel like it fits. But I do want to note, because someone did ask if I was high when I made it. No, I was not.
ZO:
Just subconsciously through the material.
FW:
Yes, yes. Immersed, if you will.
But so I took the time to learn that and I decided on stitch. It made sense, something durable, because I started to think through installation. Just the gamut from beginning to end. Not just for the piece, but where it exists on wall space, right?
Or in a space. So thought through that, and then I knew the basics of crochet, but I didn't know how to do, scalloped, doily trim or edging. And so then I needed to teach myself that. So now I know how to do doilies and teeny tiny crochet hooks and thread. And so I, taught myself how to read crochet patterns—written and drawn—like the illustrated ones.
So I taught myself how to do that, and I became familiar enough with each stitch or stitch type so that I could create and freehand my own border so that it fits custom to whatever size piece I do.
ZO:
So you're a fast learner?
FW:
Yes. I mean, you know, I feel like there is good obsession. There's bad obsession.
So good obsession. And yeah, I'm a visual learner. I have photographic memory. So if I see someone's hands do a motion, I can mimic it if the angle is right. If you got it covered and I can't see, then I probably can't do it. But if I see it, I can do it.
ZO:
And so what is this image. Talk about why you chose this certain image.
FW:
This image is a picture of me when I was five. I believe I was five in this picture. The landscape, the place where this picture is taken, is old apartments that we used to live in when I was young over by Graceland. And I said I was going to drive past there.
It's been so long since I've been over there. I don't know if they're still there. They might be renovated and still standing, but I kind of wanted to go in and recreate the picture. A friend of mine suggested that, and I think that's a really cool idea, so I might. But I'm looking up. My mom took this picture.
She was upstairs at the apartments. I think she probably borrowed something from a neighbor. I don't know, but, I went with her, and she told me to stay put, and so I did, and I was looking up, and as she was coming back down, she took my picture and we went back home. So, yeah, I didn't know that she took the picture.
I don't know who took the picture. I found out this past Thanksgiving, she was like, “Oh, I took that picture.” And it just meant so much more of like, awww thank you.
ZO:
And you're looking up to your mom. I love that. I have a theory that you are your true self at five years old. Before school happens, before bullying. Outside influences. And part of my redirection back into art was honoring that little five year old. I love that this is such a beautiful honor of your five year old and your inner child. Were you a creative child?
FW:
Always super creative, super curious, just inquisitive. Asking questions. My mom told me, “I don't know, Lisa.”
My nickname is Lisa, so I heard that a lot growing up.
“I don't know, Lisa. I don't know.” But I would ask things that I'm sure what I think normal children would have asked. I remember vividly asking her, or maybe the timing of it is wild, but it was innocent, I swear. I asked how planes stay in the air.
We had just visited the airport for like a field trip, and I was trying to mentally prepare before the field trip, and I was like, “I kind of need to know.” For whatever reason, I thought we were going to leave the airport and fly somewhere and come back for the field trip, just, you know, a child.
And so she was like, I don't know.
And I was like, “Well, if you don't know,” I just started to freak out. I was a very nervous child growing up.
And so, I don't know, I just I pondered it and I freaked out at the airport. We had gone onto one of the planes and a pilot was telling us about all this, and then this happens and we weren't listening.
We were just excited to be not at school. And I remember buckling in because they told us to, and I wasn't paying attention because I was nervous. We were getting ready for takeoff and I didn't know how to get out of the seatbelt. And so my best friend Connie, she came and unbuckled me.
And I feel like she saved my life. It was dramatic, very much dramatic, but yeah, that was me as a child.
Loved Legos. I love Legos, video games.
ZO:
Yeah, I can see the Lego-ness in this. They're kind of like little tiny blocks.
FW:
And so that's important. But and also to like the image of me, as a child is, you know, defending that inner child. And so that's the purpose of this being the first piece. It’s kind of like, you know, I've shown up away for a very long time for people, and I've decided to make a change within myself, for myself.
And there are going to be some people that don't like that. And that's okay. That's your right. You don't have to like it, but I'm still going to do it and be me. And so this is just a promise to myself. That's what that is. And then it's really just a new way to preserve memory. And so sometimes the memory is fuzzy, is not always clear.
And I think that that's fun to investigate, too. Like, from far away, it looks like a picture. But as you get close and investigate, you see that there are pieces. Maybe not all the way there. So, yeah, your perspective when the memory becomes a memory and then maybe you reflect back and talk about it later. And there are components or elements of how or why something happened that were unbeknownst to you.
And it helps to fill in some of the happenings, like that too. I think that's interesting how that works.
ZO:
You gave me so many chills during that. I want to know, are there any other memories that you would like to explore?
FW:
Oh, so, so many. So this was a challenge to myself because I almost didn't finish this piece.
It was intense. I sat with it and I was like, I don't know if I can do this. You know, I'm overly ambitious sometimes, but I think that I might have bit off more than I can chew. And I sat with that, and I didn't work on it for a day because I was sad about feeling—like pre-giving up.
I hadn’t fully given up on it. I was sad with the thought that I was entertaining not finishing, and I had a pep talk with myself and I said, “Self,” and self said, “Yes?” And I was like, “No, you don't get to. You don't get to?”
ZO:
Where you think that voice came from?
FW:
Maybe someone, maybe an ancestor, but also maybe future self, I don't know. I do sometimes—because I live alone—I do speak out loud to myself. Hearing it versus thinking it sometimes is different. And so sometimes I'll name something out loud and if it feels ridiculous, then I know for sure that it is.
I just had to sit and remind myself why I started the piece in the first place. And while working on this, I had to restart it four times. I got it right on the fifth try. And midway through, at about this point, I had stitched a layer twice, so I stitched a row of the same color twice and I didn't know, but it started to look glitchy and not intentional.
This area was not supposed to look like that is supposed to appear up here in other areas. And I was like, wait, that's not my face. Why does it look like that? So I go back and I check my colors. And I was like, I've repeated my color. Okay. So then I had to undo it.
So for a bit of context, each row is 50 beads. So I had done ten rows by the time I realized that I had repeated a color, so I had to do it—practically I did 20 rows because I had to undo those ten, rethread, restring and redo the ten again. That took seven hours. I remember that vividly. I timed it. I still have not gone through and gotten that final number, but it is 100 some plus hours worth of work in totality.
But yeah, I needed to prove that I was worthy to carry this out. This work feels—this work is so much bigger than me. And in doing this, I was alone. But I didn't feel alone. I felt people present with me. 2 or 3. I know for certain. And the level of dedication. So I hadn't had that kind of commitment to anything except for ceramic work.
So in undergrad, I would spend 12 hours in the studio. I wouldn't get hungry or thirsty or anything until I was finishing. And then I was like, oh, wait, I'm starving. And so this is the same thing. And so I will work on this daily. Prime Time is what I was calling it.
So from 5 p.m. to midnight, I worked on it. If I couldn't sleep, I would get up and work on it. And some of those hours are logged in bits and pieces, scattered. But I needed to prove that I could. That I could withstand what it's going to take. And so I could have asked for help.
I could have leaned into my community. And in time, I will. But I can't ask something of you if I'm not willing to sit there and do it myself. I can't do that. I can't rely on you if you don't know whether you can rely on me. And so I had to do it to prove it to myself that I could, and to show other people that I could do to.
And I can teach you, and we can do this together. That's later on down the road. But it says something, I don't know, maybe it's a form of leadership. I don't know. I just kind of got that in my head, but I think it says something to be able to get down with somebody and work your way up together doing something.
This commitment, this rededication, which is what I named to sort of discipline myself again, because it takes that. It takes that focus, that laser focus to sit and crank this out. This is a lot of cranking that takes some time. But, you know, the end result is just so—
I'm just so satisfied. I'm so proud of this piece.
ZO:
I can tell. It’s like every time you talk about, you smile.
FW:
Aw, I can’t help it.
ZO:
I love to see that. Like someone put so much work into something and feel so proud about it. And when you were posting about it, I could feel how proud you were. And it's truly an inspiration because sometimes, like, I consider myself a quick worker, like a fast worker.
And sometimes it's almost an out. Because it's like, oh if I spend so much time doing something and it turns out shitty then I'm a shitty person, like I’m not good if it takes so much time. So I'll like rush to do something and be like, okay, it's fine, whatever. Who cares? And so for you to talk about this over 100 hours, like, that's real dedication to art.
And I can tell.
FW:
The day that I posted this, the very next day, Artsy posted their trends for—the forecast for art for the coming year. And it was literally this type of work, time honoring practices, things that take time. I think especially now with the way that society is, go, go, go, like crank it out, get it out.
And then that has seeped and leached into the realm of the artist. How fast can you produce this work, whether you're represented or not? We need reproductions. I want this, I want that, I want that, I want it too. And so it can become overwhelming. And I think that there is such a—you take back your power when you say this takes time.
So I'm going to take the time that it takes to make it. And when it is ready is when it will be ready for you. No sooner than that. I can't make that happen. There isn't a machine necessarily that can crochet, and there is not a machine that can do this stitch. So I am the machine and I am not a robot.
Because things take time, everything in its own time. And there are certain things you can't rush. And I think we need to get back to that. We're in such an instant gratification age and that's unrealistic.
ZO:
Yeah it really is. My favorite question to ask artists, is if you had all the time and resources what would be your dream project?
FW:
Oh wow. That is such a good question. That's...wow. I would do the most immersive body of work. I'm talking about all the senses, all the senses. Oh, do I want to say the idea? I think I would just take exhibition to a completely different like level.
Some of the things that I've been thinking about based on my previous work, I've really been able to push the boundaries of the thinking in terms of what I want to see for me, and that has kind of, you know, spilled over into critiques or visions of what other people are doing—like, well, I probably would have done it this way.
I like it, but I would have probably done this or certain investigations. And these are notes that I keep in mind for things to consider as I approach the work. But I think that I would, I would be a problem out here in the best way. I don't know, my exhibition would equire a field trip.
You would have to travel to it. Like not in the sense of, oh, it's in this space, this physical building. No, you can't see it unless you travel to this specific point on a map. It is not a building. It is this, you know, I would do something just really immersive outside. I think I'm gonna do it.
I don't have the money, but I think I can figure out a way.
ZO:
It’ll all come into place. I feel like you're truly doing what you were meant to do. And just hearing you talk about it, it's amazing. And I want to know, like, how you find inspiration or what you consume to get ideas.
FW:
I just really tap into what I love. Like just personally outside of creating work, there is an aesthetic that I love. So rust orange colors, gold and yellows, chocolate browns, malty kind of colors. I love vintage mid-century modern stuff from the 70s. I love it, I love thrifting, I love nostalgia, I love the feeling that nostalgia gives me.
I love things made by hand. So I think that that kind of overlaps with thrifting. But if I go, I can look at pottery and I can know what's hand thrown versus what's cast. And so you want to look for rings inside the piece. Those are your lines going up as you raise your clay.
So I love that. I love nature, I love outdoors, I love flowers, all the taking pictures of flowers. I love things dainty, but I'm very much a tomboy, so there's that. But inside I'm like all florals and motifs. And these types of things.
ZO:
You’re multifaceted.
FW:
Yes, I am. I think I truly, and this might be cliche, but I truly think that inspiration is everywhere.
You know, just take a walk. Once, it's warmer, of course, but just take a walk and all the colors and like the breeze against your body directionally, whichever way it's blowing or the smell, like the sweetness of the flowers that are in bloom, the rustling of the leaves in the trees, the birds, like just all these things.
I love it, I love it.
ZO:
Do you ever write poetry? Because you have a very poetic style of talking and thinking.
FW:
I love words, I love the beauty of them sandwiched together. It is a meal. It is satisfying sometimes when you read certain things. So I do try to speak poetically, but I don't really.
I wrote a poem for this piece at the end of the caption for it. I do like poetry. I like pretty things, so words arranged together in a pretty way, or color combinations, I don't know, I don't know. Maybe I should dabble in it again. I was writing just to write stuff, so not super serious, but maybe I should.
ZO:
So what's next for you? What are you currently working on?
FW:
So currently, two of these. I will give a teaser.
ZO:
Exclusive.
FW:
You heard it here first, folks. The second piece, because I kind of flipped the order based on bead size. I was about to get crazy. So the second piece, which would have been the third, the second piece is also 10,000 beads, but it is loom.
It's on the loom, so it should go faster. This took—I did 100 plus hours in under three months. So this took three months. But I didn't do it every day. But the next piece will be 10,000 and the third piece will be 22,500 beads.
ZO:
Are they memories?
FW:
Yeah. Photographs. They're all going to be. And so the expansion of this work, these pictures are limited to what I have immediate access to, which are my mom's photo albums. But as I go, I'll be capturing stories from relatives that I'm not super close with, just to kind of learn a bit more about who I am, where I come from, what life is like for them.
And I'm just trying to go back as far as I can to get photos of people who I will have probably never met, known, or have seen before. But I want to honor them. And so it'll start with the women, of course. And then at some point it will deviate and drift out into the men of my family.
So right now I'm just focusing on my mom's side, and then there'll be a whole different grouping of works for my dad's side. So I plan to do work that honors them, too. But that's further down the line. I think this is going to be a couple of years worth of work. But yeah, that is what's next.
So, I'm excited. I've got an exhibition coming up. I'm showing a piece.
This piece will be in an exhibition at my alma mater at University of Memphis, which is the first piece that I've shown since I've graduated, and I graduated back in 2013.
Lord. But yeah, so there's going to be quite a few heavy hitters in this show. It's a textile exhibition. And so I'm excited to be able to include something that is a bit, you know, not exactly textile, but it is in that realm and it definitely fits and aligns. And so I'm excited to see the pieces that are going to be making up the exhibition as well, like the ladies that are participating.
I'm grateful for the opportunity. And then the most immediate what's next after I leave here, my beads have been delivered.
ZO:
Ooh, that’s exciting.
FW:
So yes, I get to look at all the colors.
Where to find Felicia
Instagram: @felicia_rachelle