This critical arts-based research paper centers the creation of two fabric assemblage pieces made in response to Black Lives Matter uprisings. Here, I explore methodology, materiality and representations of collective memory. As a Black joy project, I unpack tacit knowledge production grounded in the Gullah Geechee heritage of my grandfather. This unspoken knowledge undergirded my work in embodied ways. Thus, I meditated on the sources of the work-cultural traditions and visuality-that intuitively informed my making. Lastly, as a former art teacher, current university professor and longtime artist with periods of hiatus, I conclude by positing implications for my field of study.
