Brittany Moná is a DC-born and Maryland-based abstract mixed media artist. They draw inspiration from familial experiences, African ancestry, and graffiti artists. Moná incorporates traditional African motifs and objects unique to African American culture into their art to create representation for the Black community.
In the following interview she speaks about her art and process with Touchstone intern Charmaine Mapp (a senior at George Mason University).
Charmaine Mapp: As a self-taught artist, what drew you toward pursuing art? How did you develop your style?
Brittany Mona: I’ve always been interested in the arts. My first love was and is theater and poetry. During the pandemic, my friend was cleaning out their house and offered me some art supplies which I took out of curiosity and started using it as an outlet. I was never interested in pursuing art as a career, I was just playing with abstract styles. My inspiration has always been traditional African art and graffiti. One of my youth mentors had expressed interest in my art and through her, my work was included in an exhibit. It was more like art found me. A lot of Black women and community uplifted me and encouraged me; they saw me when I didn’t see myself, and I held onto that.
CM: You have spent years working closely with children teaching them about art and experiencing first-hand the power of unrestricted imagination. What aspects of your art are inspired by what kids have taught you about yourself?
BM: I taught during the pandemic and stopped teaching in 2022 when I decided to pursue art. I was a Pre-K 3 teacher for about eight or nine years, and it was a great time. I learned a lot from them about just being myself. [Kids] are very much open to learning things which I appreciate. The openness they have to learn and receive, to challenge and question was probably my greatest lesson working with them.
CM: On your website, you have a quote, “Art doesn’t have to look a specific way; it just has to be created.” Is this philosophy part of the reason you were drawn to abstraction?
BM: When I first started there was a little bit of imposter syndrome. I just needed a reminder that starting somewhere is better than not starting at all. Although I was terrified of being vulnerable, I just needed to create because [my art] won’t transform, it won’t expand, it won’t change, it won’t grow if I don’t do it at all.
CM: Multiplicity of meaning and visual abstraction are key characteristics of African art that are reflected in your work. Are there symbols in your art that you would like audiences to notice and understand?
BM: There’s a lot of repetitive lines in my work. I use them for two reasons. Majority of the time, my work is also connected to African spirituality, so if there are lines, it usually represents the past, present, and future. For me it’s very important to acknowledge where I’m at, my ancestors who allow me to be where I am now, and make sure that I continue to create and make space for those who will come after me. I also just think it’s visually cool to put accents on different areas that I think are beautiful. I love big lips; big noses; I love very rich, deep skin. To me those things are beautiful.
I also use a lot of dots in my work which symbolize connection. We are all connected even though our stance in Blackness is very different. That is always a reminder to make sure that I work towards incorporating folks who I may not have incorporated in my work before, and make sure that everyone within the diaspora can be seen.
CM: “Made by Black” directly addresses a word included in your art. Could you tell me more about your signature? What is your intention when signing art with the name “Black” and what is the lasting impact you hope it has on your viewers?
BM: I got the [Black] tag inspiration from graffiti artists. Because my art fluctuates a lot in style, I wanted folks to recognize my work. I like the idea of the word Black being very bold (sometimes it’s subtle) and in-your-face on a piece especially if it doesn’t need to be. I’m creating so people can live as loud, open, and free as possible. Stamping Black all over my pieces kind of represents that. I also didn’t want my more abstract work to be watered down in any way. Sometimes a piece looks great without [the tag] but I still add it. I always get the question “Why?” And my question is “Why not?”
CM: The Black experience is impossible to describe in definitive terms. Considering the multifaceted nature of what it means to be Black, can you explain how you choose to represent this dimensionality as a creative?
BM: I represent what feels like home to me and parts of my home that are underrepresented. I grew up in a low-income neighborhood and there are a lot of things that are stigmatized about growing up in an urban community. There are so many things I love about how I grew up and how I understood community. I do my best to make sure that folks can see themselves in my art from my community and beyond.
CM: Artworks like “Ends Meet” and “Guidance” showcase your talent of juxtaposing compelling images using shape, color, and texture. What is your process of creating multimedia art?
BM: I like to include spiritual practices and beliefs into my pieces and practice because I don’t feel like I am creating by myself or based solely on my experience. Before I create, I ask my ancestors for guidance. Then, I look at what I have. I try not to buy [materials] unless I absolutely need [them]. Ends Meet was inspired by those who are living paycheck to paycheck and being resourceful. With that piece all I had was scraps and I just used what I had.
CM: If you had to define your art with a single word or phrase, what would it be?
BM: Black. That’s what it is. It’s Black, it will always be Black and never diverge from being Black. And I hope that when Black folks see my work, they feel a sense of home.