Rashad Ali Muhammad

BIO

Rashad Ali Muhammad is a multidisciplinary collage artist known for creating vivid and captivating works reflecting the vast complexities of our human existence. Muhammad's ongoing journey to expand his emotional intelligence ignited his desire to explore the intricacies of the human experience — the expansive intersections that shape our lives and how we can relate to each other beyond the surface. His experiences as a queer, gender-nonconforming person of the African diaspora reflect his fondness for utilizing art as a catalyst to liberate minds from the binary confines of society. Through his art, he cultivates open space for healing and rejuvenation from our chaotic world.

Muhammad's emphasis on connecting to his inner child and love for experimentation fuels his whimsical and enchanting artistic sensibilities. For him, collage combines intention, invention, and investigation, dissecting established references and reassembling them to create new compelling visions. With a formal graphic design and photography education, Muhammad blends his acquired skills to create art that fascinates and expands the mind.

Muhammad is a resident artist at the Torpedo Factory Art Center in Alexandria, VA.

ARTIST STATEMENT

Rashad Ali Muhammad is a multidisciplinary artist who works in various mediums, including analog and digital collage, assemblage, design, painting, and non-narrative video. As a queer, gender-nonconforming person of the African diaspora, he resonates with the ability to deconstruct and reform reality — a method of thinking and creation that can counter society’s hierarchies and binaries. Muhammad uses unexpected found objects, organic shapes, patterns, and symbols as cultural signifiers to highlight the vast intersections shaping the human experience while creating space for healing and rejuvenation. No matter the medium, the throughlines in Muhammad's practice are emotional and mental stimulation, primarily focusing on connecting with the inner child.

Interview with Rashad Ali Muhammad

Can you tell us a bit about your background and how you became interested in becoming an artist? 

Since childhood, creativity has been in my bones, drawing on the walls and turning cans and buckets into drums. In high school, I was known for my artistry (painting and drawing), and I branched into video and photography. I started college focused on film and directing because I wanted to create music videos and advertising, but the graphic design curriculum interested me more. Graphic design felt like the natural way to be artistic, learn communication skills and techniques, and make a good living (I was hyperfocused on not falling into the starving artist trope).

While working in my graphic design career, I did freelance photography projects, but everything burned me out because I was at the behest of other people's visions. So, in 2016, in an attempt to make art for my office (because I refused to buy Target art), I rediscovered my love for art through mixed media painting. After the clamor of family, friends, and coworkers, I decided to explore creating art as a side hustle, and I haven't looked back since. 

Nowadays, I've created a life where I get to create all day, although I don't currently want to pursue a full-time art career, as I feel that would be beyond stressful. I thrive in having different spaces to explore my creativity and artistry, which keeps me stimulated.

Where are you currently based and what brought you there? Are there any aspects of this specific location or community that have inspired your work? 

I'm based in Clinton, MD, and Alexandria, VA. I grew up in Clinton, and my partner resides in Alexandria, which is also where I was born. The significant diversity is the best part of the Washington Metropolitan region! I think the mixture of cultures in the region creates an exciting microcosm of ideas and experiences to pull inspiration.

What is a typical day like? If you don't have a typical day, what is an ideal day? Do you work in large chunks of time, or throughout the day?

On a typical day, I'm up between 5-6 a.m. (I'm a morning person through and through). I strive to get a workout in, but that's not always consistent. Depending on how I feel that day, I'll head to my studio earlier in the morning or go in around noon. The first part of the day is often dedicated to knocking out work for the full-time job that provides the salary and benefits (graphic design). Once work priorities are accounted for, I switch into art mode and explore whatever pieces are on my mind or already in the works. At least three projects (sometimes cohesive, sometimes disparate) are in the works or planning stage at any given moment. I usually bounce between creating art and handling some admin/business tasks.  

What gets you in a creative groove or flow? Is there anything that interrupts your creative energy?

Music is the quickest way for me to get in a creative flow -- primarily, house and club music gets my energy flowing! Being in a public studio, the creative energy gets interrupted by engaging with visitors entering my space. It's been a lesson in balance and how to focus my energy in a publicly accessible studio space. 

How do you maintain momentum in your practice? Is there anything that hinders or helps your focus?

Like MANY artists, we generally have a billion and one ideas swirling around in our heads. First and foremost, having a journal or notes app to jot down all the ideas helps keep my head clear. Working in series/collections helps me maintain momentum and focus. It allows me space to explore the multitude of subjects that interest me while creating a cohesive body of work. When experimenting, a series helps me flesh out the style and symbolism needed for that body of work. This inevitably helps when it comes time to write and talk about the work when promoting it. 

What medium/media are you working in right now? What draws you to this particular material or method? 

Currently, my preferred medium is mixed media collage. I work in analog and digital, but analog is my favorite because of the tactility of the materials. Unlike standard collages, which are paper-based, I love incorporating materials that add dimensional depth and texture, such as fabric, upcycled jewelry, and my signature: faux flower petals. I'm drawn to this material and method for various reasons. At the top of the list, using fake flower petals adds intrigue and whimsy to my pieces. I love seeing people's reactions when trying to understand the material, how it's adhered, and the imagination it took to think of using it in such a unique way. 

Can you walk us through your overall process in making your current work? Does drawing play a role in your process?

With my collage portraits, I typically start with a magazine (fashion, to be specific) and select the image or images that gravitate to me. Certain images stand out to me for various reasons: expression, mood, lighting, composition, exciting texture, etc. After selecting an image, I use tracing paper to doodle and play around with different compositions. However, sometimes, I will go straight in and use my intuition to build my composition -- thinking of color, texture, depth, and detail to build out what I feel is the piece's message. Once the composition has come together, I start the adhering process. During this process, I make mental notes on additional material to add once the main components are in place. 

What is exciting about your process currently?

The exciting thing about my current process is exploring how to add newly acquired skills, like sewing and audio production. 

Can you talk about some ongoing interests, imagery, and concepts that have informed your process and body of work over time? How do you anticipate your work progressing in the future?

Everything in my practice is rooted in the vast complexities of the human experience and how we relate to each other and the world. At the root of that is my journey to expand my emotional intelligence. Beyond the emotional human aspect, other ongoing interests and inspiration derive from nature, fashion, music, introspection, and showcasing authenticity. The future state of my art is honing portraiture to develop it from a static representation of a person to a more profound and comprehensive expression.  

Do you pursue any ollaborations, projects, or careers in addition to your studio practice? If so, can you tell us more about those projects, and are there connections between your studio practice and these endeavors?

I have multiple other passions outside of my studio practice, however I've learned to use each to fuel the others. My full-time career is in graphic design, which provides knowledge to creating a balanced composition, color theory, and much more. It also provides plenty of knowledge to pull from for marketing, business, and administrative duties for my studio practice. 

In 2022, I learned to sew and have been creating garments to showcase the style I've always wanted beyond what's available in stores. The added benefit is branding myself in my practice -- bold colors and patterns.

I did my first collaborative exhibition this year, which has excited me to do more moving forward. In my first collab project, a fellow artist provided artwork of nude body forms, and I applied my textural faux flower petals. As we progressed through the project, it became a conversation around an abstract representation of the many themes present in the Adam and Eve story: temptation, knowledge, and the sexualization of the body.

Have you had any epiphanies recently that have changed the course of your work or caused you to shift directions?

Years ago, my partner told me, "When using my hands, my artistry is limitless." I took that to heart and reframed my mindset about my work. I have explored projects making soundscapes and pushed myself further to dabble in digital and motion art. I'm primarily focused on acquiring many skills that I can hone and use at some point in my practice. Collaging has expanded my mind and how I approach my artwork because collage pulls from many places; I equate it to an endless pool of inspiration.

Can you share some of your recent influences? Are there specific works—from visual art, literature, film, or music — that are important to you?

In the past few months, I've been incredibly inspired by Alma Thomas's work -- so much so that I've started working on a collection of pieces that feel like a conversation with her and her style. One of her top inspirations was nature, which is mine as well, so this is a chance to try and see how she saw the world, how that relates to my practice, and how I can evolve my style. 

Can you elaborate on a recent work of yours, and tell us the story of how it came to be? 

A recent piece I created, "Temptation," came from the aforementioned collaborative exhibition. The concept started as a challenge to create a monumental tapestry-style piece to display in the exhibition window. 

When I first started the piece, I decided to push my new sewing skills to the limit to create this piece. 

Who are some contemporary artists you're excited about? Is there a recent exhibition that stood out to you?

I'm constantly taking in art and exhibitions, and it's hard to pinpoint select artists. My eye is currently on Katherine Tzu-Lan Mann, Shaunté Gates, and Jackie Milad. Each artist creates larger-than-life pieces that feel like portals into another world. Overall, I get excited about artists doing new things in art or making innovative techniques, and I'm very keen on artists using collage in their practice. 

Do you have any tips or advice that someone has shared with you that you have found particularly helpful? 

My all-time top advice is not to intentionally separate your skills. The various skills and techniques you pick up along your journey should feed each other -- that's when the magic happens. Early on in my career and art practice, I tried to keep graphic design, photography, and fine art separate. A fellow designer asked me why I focused on keeping them separated when pouring the skills from one to another is where you'll feel more mentally settled and fulfilled. Since then, I've flourished in any endeavor beyond just creative pursuits. Weave all your skills and experiences together, and you can truly showcase your unique perspective and create things no one else can.   

What are you working on in the studio right now? What's coming up next for you?

Currently, in the studio, I'm taking time to digest my experiences this year and what I want to accomplish in the new year. I've been fascinated with working through a shadow work journal and how that will translate to my practice. I'm developing a new series that showcases my perspective on portraiture, taking them from static to more dynamic depictions through mixed media collage. 

In 2024, I have my first in-person residency at the Peter Bullough Foundation in Winchester, VA. I'm super excited about a month away from everyday life stresses to focus on my experimenting and building new bodies of work. I plan on working on the new series I mentioned, making new garments, and working on my first book. Beyond that, I look forward to working on more collaborative projects with artists and how that will influence my practice. 

To find out more about Rashad Ali Muhammad check out his website and Instagram.