Rashad Muhammad
Copa Style Magazine Question Responses
I was born in Alexandria, Virginia, and raised in Clinton, Maryland — the southern end of Prince George’s County.
2. Where did you attend school?
I attended American University where I obtained my Bachelor of Arts in Graphic Design. My initial area of focus was Film & Media Arts, but once I got into the coursework I recognized it wasn’t quite my speed, other than the photography classes -- as I think about it, I recognize I didn't like the number of team assignments. Intro to Graphic Design was a prerequisite for the film curriculum and when I took the class I immediately felt at home because it reminded me so much of fine art, with an added communication focus. With that, I decided to take a myriad of communications classes to supplement the graphic design curriculum so I could better understand the psychology of design.
When I got hired at UMUC, now University of Maryland Global Campus, I knew I would eventually work toward a Masters, since it was free. I started a Marketing Management Master's degree, but I decided to forego the program because my art career was taking off. I had to decide between the two or else I would’ve burned myself out. While the Master's degree was free, it was not a necessity in the graphic design industry, so it was an easy choice for me.
At what time did you realize you had a talent for art?
I knew I had a talent for art during high school. I naturally excelled at art in my earlier years and throughout my junior and senior years the head of the art department, Frederic Roberts, gave me a lot of attention. He taught me the basics and pretty much let me explore — introducing me to photography and video as well. I remember the first time he handed me a film camera, he didn’t give much explanation, just how to use it, and when I asked well what do I take photos of, he said: “figure it out.” Looking back, I appreciated him for seeing something in me and never giving me the easy way out, he ALWAYS made me figure it out for myself, which helped me trust my artistic instincts.
3. What sort of things did you create in the beginning?
When I first started creating art I only wanted to make a piece or two for my office. It was my first job where I had a solo office and the walls were so bare, screaming for a little pizzazz. Although I had no clue what I could paint since I hadn’t painted since high school 7 years prior. I tapped into my graphic design sensibilities and thought of something simple that would be bold and make an impact. This is also the moment I ended up picking my signature material, gold leaf. I remember searching the aisles of Michaels and seeing the shiny material. I had never seen nor heard of it before so I thought that would be perfect to make something striking.
- Where are you from?
I was born in Alexandria, Virginia, and raised in Clinton, Maryland — the southern end of Prince George’s County.
2. Where did you attend school?
I attended American University where I obtained my Bachelor of Arts in Graphic Design. My initial area of focus was Film & Media Arts, but once I got into the coursework I recognized it wasn’t quite my speed, other than the photography classes -- as I think about it, I recognize I didn't like the number of team assignments. Intro to Graphic Design was a prerequisite for the film curriculum and when I took the class I immediately felt at home because it reminded me so much of fine art, with an added communication focus. With that, I decided to take a myriad of communications classes to supplement the graphic design curriculum so I could better understand the psychology of design.
When I got hired at UMUC, now University of Maryland Global Campus, I knew I would eventually work toward a Masters, since it was free. I started a Marketing Management Master's degree, but I decided to forego the program because my art career was taking off. I had to decide between the two or else I would’ve burned myself out. While the Master's degree was free, it was not a necessity in the graphic design industry, so it was an easy choice for me.
At what time did you realize you had a talent for art?
I knew I had a talent for art during high school. I naturally excelled at art in my earlier years and throughout my junior and senior years the head of the art department, Frederic Roberts, gave me a lot of attention. He taught me the basics and pretty much let me explore — introducing me to photography and video as well. I remember the first time he handed me a film camera, he didn’t give much explanation, just how to use it, and when I asked well what do I take photos of, he said: “figure it out.” Looking back, I appreciated him for seeing something in me and never giving me the easy way out, he ALWAYS made me figure it out for myself, which helped me trust my artistic instincts.
3. What sort of things did you create in the beginning?
When I first started creating art I only wanted to make a piece or two for my office. It was my first job where I had a solo office and the walls were so bare, screaming for a little pizzazz. Although I had no clue what I could paint since I hadn’t painted since high school 7 years prior. I tapped into my graphic design sensibilities and thought of something simple that would be bold and make an impact. This is also the moment I ended up picking my signature material, gold leaf. I remember searching the aisles of Michaels and seeing the shiny material. I had never seen nor heard of it before so I thought that would be perfect to make something striking.
After I created that piece, Gold Queen, I started making abstracts that included a lot of swirls and patterns.
I loved abstract art and wanted to try my hand it and this style reminded me of a fun design project I did during college, where I hand drew a poster design.
As I started showing my art the abstracts weren’t getting the attention I thought they would, so I rethought my artistic approach. I dove headfirst into establishing the style which grew into my first significant series of work I refer to as “Crowns”, where I use gold leaf to create hair in each piece — intertwining the crown of the head and royal crowns.
4. What is your present subject matter and projects?
After making a plethora of pieces in the “Crowns” style I got bored and disconnected from my art. I couldn’t put my finger on what I was missing or what I was trying to say in my art — I didn’t have a clear vision of my why. Then I took my first trip to West Africa for my 30th birthday. Phewww, it was quite a life-changing experience! I hardly think my exuberance comes through via text, I truly get so elated anytime I think about that trip. I tapped into the spirit of the people, nature, and the connection to our ancestors. I shed a lot of healing tears while there.
After making a plethora of pieces in the “Crowns” style I got bored and disconnected from my art. I couldn’t put my finger on what I was missing or what I was trying to say in my art — I didn’t have a clear vision of my why. Then I took my first trip to West Africa for my 30th birthday. Phewww, it was quite a life-changing experience! I hardly think my exuberance comes through via text, I truly get so elated anytime I think about that trip. I tapped into the spirit of the people, nature, and the connection to our ancestors. I shed a lot of healing tears while there.
Since returning I recognized what was driving my earlier work — my art combined diverse materials and methods to offer a glimpse into my perpetual quest to connect to his ancestry, community, and nature. My current work is an amalgamation of painting, graphic design, collaging, photography, along with my signature gilding to incite reverence to my heritage via symbols and elaborate patterns. Africa helped me recognize I innately drew upon deep-rooted blood memories connected in my heritage’s use of color and patterns, their vibrant spirit for life, and links to nature.
To continually give reverence to my ancestors and connect to African spirituality, my current series encompasses mixed media portraits of the Orisha deities of the Yoruba religion. It allows me to teach myself more about Africa and connect through art. While I may never know exactly what African ethnic group I’m from -- although many Africans that I’ve met since then have mentioned I have a lot of Igbo features (the Igbo and Yoruba people occupied current-day Nigeria) -- this series still offers some semblance of connection to my ancestors.
To continually give reverence to my ancestors and connect to African spirituality, my current series encompasses mixed media portraits of the Orisha deities of the Yoruba religion. It allows me to teach myself more about Africa and connect through art. While I may never know exactly what African ethnic group I’m from -- although many Africans that I’ve met since then have mentioned I have a lot of Igbo features (the Igbo and Yoruba people occupied current-day Nigeria) -- this series still offers some semblance of connection to my ancestors.
5. What is your relationship with color with your work?
There are two parts to my use of color, the explicit and the subliminal. The explicit use of color in my art relates to skin tones. I focus on uplifting the human spirit and not conforming to the world’s view of us, which is why I steer away from realistic skin tones. I want people to see themselves in my work regardless of race -- celebrating their individuality.
The subliminal approach to color in my art is informed by my study of color theory in graphic design and the psychology of color. There’s so much that can be said about color theory but in the context of my art, I focus on the emotion I want to evoke and building harmony with the other colors and elements in the piece. Take for instance my self-portrait — which was an assignment from my therapist to show how I felt before I started with her in 2017 and where I was in 2019 — the black and blue side shows depression and despair with a cold, emotionless mindset, while the golden and white side shows light, positivity, and happiness with a vibrant, warm, and inviting energy. There a few other symbols in there that you can read about on my blog. https://ramcreates.com/latest/self-portrait
There are two parts to my use of color, the explicit and the subliminal. The explicit use of color in my art relates to skin tones. I focus on uplifting the human spirit and not conforming to the world’s view of us, which is why I steer away from realistic skin tones. I want people to see themselves in my work regardless of race -- celebrating their individuality.
The subliminal approach to color in my art is informed by my study of color theory in graphic design and the psychology of color. There’s so much that can be said about color theory but in the context of my art, I focus on the emotion I want to evoke and building harmony with the other colors and elements in the piece. Take for instance my self-portrait — which was an assignment from my therapist to show how I felt before I started with her in 2017 and where I was in 2019 — the black and blue side shows depression and despair with a cold, emotionless mindset, while the golden and white side shows light, positivity, and happiness with a vibrant, warm, and inviting energy. There a few other symbols in there that you can read about on my blog. https://ramcreates.com/latest/self-portrait
6. What is your specific philosophy on Art?
My philosophy on art is to depict the world that I want to see. A world where people are free to express themselves authentically and live boldly, much like my personal motto “Don’t blend in, stand out!” I found this truth as I was on my journey of finding my authentic self and learning that I shouldn’t put myself in a box to fit the perceptions of the people around me. Also, with my new work, I’m delving deeper into the idea of reimagining the way we see the world around us — as I take disparate materials to create visuals. I love blowing people’s minds with my imagination.
7. What does the future hold for Rashad Muhammad and his wife world of Art?
Of course, the future is never guaranteed, but I envision myself continuing to share my view of the world through my art while connecting deeper to my ancestry. I will undoubtedly explore other forms of creating art — I’ve been itching to pick my camera up again and start shooting and I’m extremely interested in exploring experiential artwork much as you see at places like Artechouse. No matter where I go artistically, it will surely be bold and make a statement.
My philosophy on art is to depict the world that I want to see. A world where people are free to express themselves authentically and live boldly, much like my personal motto “Don’t blend in, stand out!” I found this truth as I was on my journey of finding my authentic self and learning that I shouldn’t put myself in a box to fit the perceptions of the people around me. Also, with my new work, I’m delving deeper into the idea of reimagining the way we see the world around us — as I take disparate materials to create visuals. I love blowing people’s minds with my imagination.
7. What does the future hold for Rashad Muhammad and his wife world of Art?
Of course, the future is never guaranteed, but I envision myself continuing to share my view of the world through my art while connecting deeper to my ancestry. I will undoubtedly explore other forms of creating art — I’ve been itching to pick my camera up again and start shooting and I’m extremely interested in exploring experiential artwork much as you see at places like Artechouse. No matter where I go artistically, it will surely be bold and make a statement.