The project was Stevenson’s first mural, a challenge she was eager to accept after teaching drawing, sketching and cooking classes to kids at Bowen High School. The teens working on the mural were mentored by Nailah Stevenson, a visual artist with more than 20 years of painting experience who was tapped to lead the project by the Westside Health Authority and ChicagoBility, a city program that sponsored the mural. The eastern brick wall on the side of GiGi’s QuickMart, 5050 W. Help of local youth through the One Summer Chicago program, the mural covers Much like in "13th" (another painting in the Good Mourning, America series), Hibbert requires the viewer to become a part of the piece, upon recognizing that his or her immediate space is the layer which follows the concrete.AUSTIN - Pedestrians walking along Chicago Avenue will find a new piece of street art that carries a message of hope and resilience for young people on the West Side. The correlation of time and physical depth in the painting also erases the imaginary barrier between the viewer and the piece.
In this piece, Hibbert reminds us that through wood and concrete, from slavery to poverty, we must celebrate the roses that kept their Dream and “learned to walk without having feet". Lined with dead bodies, feces, and disease, these floorboards housed the most extreme of human conditions - through which the ancestors of today's African-American people survived. Long before the cold concrete of ghettoes and public-housing projects, African Americans endured the wooden floorboards of slave ships traveling through the Middle Passage. When viewed through a cultural lens, one might interpret this chronology in a variety of ways. The placement of wooden planks underneath the concrete also implies a sequence or chronology of barriers through which the rose must transcend. Both the wooden planks and concrete block subconsciously register in the mind as unlikely places for a rose to flourish. Painted behind the concrete is the resemblance of vertical wooden planks. The block of gray stucco in the foreground resembles cracked concrete with a rose emerging subtly yet proudly from behind it. In this piece, Hibbert simultaneously exhibits both literal and metaphorical interpretations of the poem. Long live the rose that grew from concrete "The Rose That Grew From Concrete" - 48"圆0" - inspired by Tupac's poem of the same title, continues the artist's experimentation with texture to communicate poignant cultural messages.įunny it seems, but by keeping its dreams,
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