We got 3 NEW SPACES that you should come check out this Holiday Season:

MAKEY SPACE - A pop-up holiday crafting experience for the Atlanta community.

BAKIE’S KANSAS CITY - time-based art speak easy by Altered Means.

DEATHBOX STUDIOS. - an experimental recording and live streaming community space.

Opening of Deathbox Studios in The Bakery Atlanta at Plasma Fest.

Music by NoEyes

Check out our calendar and events on fb for fun stuff. I will be hosting a Winter Solstice Convergence with The Library of the Commons on Dec 21st featuring a bunch of awesome Atlanta activists and organizers as well as screening Laura Asherman’s new film “Power Lines” about the Vogtle Nuclear Power Plant.


I’m working to be done with “Birth of Pleasure” within the next month and am looking for cool festivals to submit it to (lmk if you have suggestions) and alternate ways of sharing the film in galleries, dance and DIY spaces. HMU if you got a lead.

Sharon Carelock as “Venus” in “Birth of Pleasure”

Sharon Carelock as “Venus” in “Birth of Pleasure”

I’m also getting back to the edit on “Lida” a documentary film about my grandmother’s morning on her 70th birthday, which I shot in Ukraine in 2017. I hope to have a preview screening in Bakie’s Kansas City along with Joey Molina’s film about his grandmother in January.


Now, if you’re looking for something to read or are curious about where my head’s been at, I’ve been reading a good bit the past few weeks. I try to alternate between fiction and non-fiction, and the past couple reads “Hope in the Dark” and “Joyful Militancy” have come from Bluestocking Radical Bookstore in NYC. Most recently I finished an Octavia Butler book gifted by an artist and farmer Stephanie Jansen after a conversation about “Emergent Strategy” by Adrianne Marie Brown.

I feel the ideas in these books help me articulate why I’m doing what I’m doing.


This books is about Hope. A type of hope that isn’t naive or dismissive of the suffering and injustices of the status quo.


“Authentic hope requires clarity - seeing the troubles in this world - and imagination, seeing what might lie beyond these situations that are perhaps not inevitable and immutable”.

Imagination in this context is incredibly important. One of the heavier points that Hypernormalisation documentary by Adam Curtis makes is that when we buy into a false and comfortable narrative, our capacity for imagination of new and powerful alternatives is diminished. And then we are blindsided by the reality as it truly is. (2016 election for example)

The Hope that Solnit talks of is not the Technocratic or a Neoliberal type of Hope championed by Silicon Valley and Obama-type democrats.

“NEOLIBERAL - The cult of unfettered international capitalism and privatization of goods and services. behind what gets called globalization - and might be more accurately called corporate globalization and the commodification of absolutely everything.

Neoliberal capitalism encourages its subjects to base their lives on this search for happiness, promising pleasure, bliss, fulfillment, arousal, exhilaration, or contentment, depending on your tastes and proclivities (and your budget) ”

Rather she talks of a revolutionary Hope, the kind of hope that dares to imagine new possibilities and experiments to make them work. Hope, in a spiritual sense is the push forward toward a world where our potential is nurtured.

In the words of Vaclav Havel, a Soviet dissident:

“The kind of hope I often think about (especially in situations that are particularly hopeless, such as prison) I understand above all as a state of mind, not a state of the world. Either we have hope within us or we don’t; it’s a dimension of the soul; not essentially dependent on some particular observation of the world or estimate of the situation. Hope is not prognostication. It is an orientation of the spirit, an orientation of the heart; it transcends the world that is immediately experiences, and is anchored somewhere beyond its horizons. Hope, in this deep and powerful sense , is not the same as happiness that things are going well, or willingness to invest in enterprises that obviously headed for early success, but rather an ability to work for something because it is good, not just because it stands a chance to succeed.”

This is how I feel about my work in film and in community participation. There is no guarantee of success in any of it. I’m investing time and energy in projects, people and visions that embody a hope for a more empathetic, efficient, and just society. These investments whether “successful” in the neoliberal sense, are meaningful, fulfilling and help build a community resilience.

The book charts out the many movements in the past several decades that can give us hope and direction in fighting the status quo. The Zapatistas, The Anti-War and Anti-WTO movements, Marriage Equality and Occupy. And she warns us that the Empire, if pushed hard enough will pivot and take credit for whatever compromises it has to make to maintain control.

“There will never be a moment when someone in Senate or on national TV news will say “Those freaks in the underbrush saw the future when we on high were blind” . . . Which is to stay, stories migrate secretly. The assumption that whatever we now believe is common sense, or what we always knew, is a way to save face. It’s also a way to forget the power of a story and of a story teller, the power in the margins, and the potential for change”

And that is one of the key takeaways. The world we live in now is in many ways a nightmare. But it will only get worse if we forget that many of the positive things we are privileged to enjoy are the the efforts of the people that came before us that organized and fought against the status quo.

This Hope is a type of Joyful Militancy.


This book breaks down the concept of Joyful Militancy.


“We are intentionally bringing joy and militancy together, with the aim of thinking through the connections between fierceness and love, resistance and care, combativeness and nurturance.”

It’s useful to give their Glossary definitions of these concepts:

“JOY - From Spinoza, joy means an increase in a body’s capacity to affect and be affected. It means becoming capable of feeling or doing something new; it is not just a subjective feeling but a real event that takes place. In this sense it is different from happiness, which is one of many potential ways a body might turn joy into a subjective experience. This increase in capacity is a process of transformation, and it might feel scary, painful, and exhilarating, but it will always be more than just the emotions one feels about it. It is the growth of shared power to do, feel, and think more

“MILITANCY - We want to revalue militancy as a fierce conviction in which struggle and care, fierceness and tenderness, go hand in hand. This emergent militancy is enabled by supportive and trans-formative relationships, which undo the stultifying forms of subjection inculcated by the Empire. . . As something that comes out of and depends on relationships, joyful militancy is not a fixed perspective or an ideal to aspire to, but also a lived process of trans-formative struggle.”

It makes sense that a book about the importance of tenderness in radical struggle, would draw wisdom from Audre Lorde (which is a major inspiration for Anicka’s work “Sanctuaries and Fortresses” and in turn, is a huge influence on my current film in progress “Birth of Pleasure”)

“Every oppression must corrupt or distort those various sources of power within the culture of the oppressed that can provide energy for change” - (Audre Lorde, Uses of the Erotic)

In her essay, Lorde is specifically talking about the Erotic as power. This is a key theme that I explore in “Birth of Pleasure”.

“For once we begin to feel deeply all the aspects of our lives, we begin to demand from ourselves and from our life-pursuits that they feel in accordance with that joy which we know ourselves to be capable of. Our erotic knowledge empowers us, becomes a lens through which we scrutinize all aspects of our existence, forcing us to evaluate those aspects honestly in terms of their relative meaning within our lives. And this is a grave responsibility, projected from within each of us, not to settle for the convenient, the shoddy, the conventionally expected, nor the merely safe” - (Audre Lorde, Uses of the Erotic)

The book continues:

Empire’s hold is increasingly affective: it suffuses our emotions, relationships, and desires, propagating feelings of shame, impotence, fear and dependence. It makes capitalist relations feel inevitable and (to some) even desirable . . . For men to ‘enjoy’ the benefits of patriarchal masculinity, their capacities for vulnerability and care must be eviscerated, replaced by a violent disconnected way of being built upon shame and woundedness. For white people to become white, they have to internalize entitlement and a hostility to difference, hiding from the ways their lives depend on institutionalized violence and exploitation. Settlers must build their lives on a living legacy of genocide, indebted to ongoing extraction and dispossession. Being privileged by Empire means being sheltered from its most extreme forms of violence and degradation and to be enrolled in a stultifying form of life that re-creates this violence. Most of what is called privilege has nothing to do with thriving or joy; this is why privileged white men are some of the most emotionally stunted, closed-off people alive today.”

This book makes a case that it is radical to fight the desensitization and dependence perpetuated by Empire. This can take many forms: reclaiming your culture and language, exploring sexual and gender expression, creating and holding safe spaces for people to organize, participating in food distribution networks, teaching and learning skills that increase your autonomy etc.

To find Freedom in such a world is not a task for a lonely individual. It’s a communal effort. This is why I believe DIY spaces like The Bakery are important.

“FREEDOM - Freedom means finding the transformative potential in our own situations and relationships. This is very different from conventional, Western, patriarchal definitions of freedom, which tend to conceive it as a state of being uninhibited, unaffected, unhindered. This “free” individual of Empire is a form of subjection invented by capitalism and the state, enclosing us in a trap of market-mediated choices, contracts, and the refinement of our individual preferences. From the relational perspective, we are advocating, freedom cannot be an escape from all connections and relations or any destination; it can only mean finding room to move in the present. Finding the wiggle room of freedom is joyful: a collective increase in capacity to work on relationships. It is in this sense that we argue that friendship and kinship are the basis of freedom: intimate, durable, fierce bonds with others that undo us, remake us, and create new capacities together.”

Upon finishing this book, I decided that I would like to strengthen my relationships by making a more conscious effort to hold space for my friends in my home by hosting a weekly dinner. It’s a habit I hope to carry into the New Year. In the words of Octavia Butler:



“Once or twice

each week

A Gathering of Earthseed

is a good and necessary thing.

It vents emotion, then

quiets the mind.

It focuses attention,

strengthens purpose, and

unifies people.




Started back in April with the help of my former roommate, Ian Best. We brought soil from 1254 Lynwyn Ln (RIP) and amended the hard clay dirt in a former parking lot.

5 months later we’ve had an abundance of tomatoes, cucumbers, gerkins (tiny little cucumbers that sprouted on their own), okra, arugula, strawberries, watermelons, basil, mint, parsley, cilantro, sunflowers, kale, lettuce, radishes, sorrel, comfrey, lambs quarters, borage, clover and onions. A successful first season.

With the help of volunteers, this month we finished a fence, built a 3 part compost bin, and put in a brick pathway.

And finally, after building all this up (with plenty more to go) we held our first Earth School class on Pickling (our very own green tomatoes) and salve making. The instructors were Stella Dillard, a local chef and gardener, and TK a yoga-teacher and artist who recently moved to ATL. They, along with Stephanie and Carolyn Reis have committed to helping dream up a vision for the garden, and help execute it with the help of the wonderful souls that join us in that space.

I could’ve learned how to pickle on youtube, and I don’t necessarily plan on feed myself with the garden (although I’ve picked plenty of stuff throughout the summer), but I do believe its important to reclaim Earth skills and to do so with a community of people.


(A response to the whole Brett Kavanaugh bullshit)

Here’s a shoutout to some of my (mostly local) favorite femme artists and activists doing dope work, that def deserve your support:

Living Melody Collective. - activist collective getting people to vote. Give em money!

Linqua Franqa.- baddest hip hop artist out of Athens GA. Also their County Comissioner.

Yani Mo. - one of the best hip hop artist in ATL

Bitter. - one of my fav pop punk bands in ATL

Estrella Sanchez - incredible activist in the Latinx community

Willow Goldstein (The Bakery Atlanta) - support the space on patreon!

glo. - so many lovely dancers activating spaces all over town

Brantly Jackson Watts. - can’t wait for her new film Spoon

The House of June. - visionary filmmakers in atl

Yes Ma’am. - putting on dope art female art shows in ATL

Darine Hotait - caught her film in Tacoma WA. So good.

Sophia Ghallager (and the Library) - creating space and collecting resources for radical change

Ash Go - dope filmmaker and activist in NYC

Danielle Deadwyler - one of the best actors, performers, and activists in ATL

Sister Sai - beautiful beautiful music. Cello virtuoso.

sunday morning at 7 (Anicka Austin) - brilliant brilliant brilliant

There are so many more.


I traveled to Tacoma, WA for the Tacoma Film Festival to screen Blue Jays. It was a really wonderful way to de-stress from all the intensity of grinding day to day in the city. The mountains hold a very special place in my heart.

The nature is beautiful, the people are awesome, and the festival was a great opportunity to meet some talented filmmakers from the West and East coasts. Just returned and feeling refreshed and re-energized!

Some Highlights (of the films I caught, so many missed):

Empty Metal by Adam Khalil

Like Salt by Darine Hotait

Hair Wolf by Mariama Diallo

Miwa Matreyek Performance

Films of Juan Pablo Gonzales

I Want More, I Want Less by Bryce Richardson



In the past month I've assembled a 45 min edit from the footage I shot on my grandmothers farm. I have enough footage to make it into my first feature length film. However, as I cut it, I keep wishing I shot things differently. As the film stands right now, its mostly all cut from footage shot on a single day, really a single morning of my grandmother's 70th birthday. After the morning, the footage becomes a lot more sparse, with practically nothing from the evening. I'm conflicted about the quality of the film, of the footage, and my approach to it. If this is going to be my first feature film, I would really like to do something more polished. Yet, I also like the rawness of this film. I didn't know how I would be cutting this film. I didn't know what kind of film I would be making. By the time I was leaving Ukraine, up until I started going through the footage, I thought this would be a multichannel installation. However, it has emerged as a long form documentary film. 

It's been a really interesting process, especially paired with my work with Sunday Morning at Seven. I've watched several Chantal Akerman films in the past month, which have informed how I think about space and time within a frame. Constantly I find myself wishing that I didn't move the camera, that I just let it soak in all the detail of my grandmother's home, her farm, her space and time. 

I'm considering a fundraiser screening this film once it's "done" as a first iteration, and using the money I might make off the ticket sales and prints to go back to Ukraine this summer to do a fresh take on the film. Maybe it'll be a whole new film, maybe I'll interconnect the footage between the years. Maybe it'll become a ritual, a pilgrimage. 

All I know is I want an excuse to go back. 



My work on this project continues. I'm struggling to find enthusiastic commitment to this project from my filmmaker friends. It's a big film, and to ask anyone to work on it for free is a huge leap. I'd like to do a crowdfunding campaign, and am comitted enough to it to put my own money into it as well. (Hoping crypto does well in the coming months). 

Here's a draft of the script:

And some photos from the lovely SIP+SUPPORT:


Anicka came to my birthday bonfire when I got back from NYC, and got me a book as a birthday present. 

"Zami. A New Spelling of My Name" by Audre Lorde. 

The book is the only one I finished in February, and it's a beautiful and wild read about the loves and struggles of a young Audre Lorde. One of the reasons this post is coming so late, is that I wanted to do a review of the book, but I have a hard time articulating anything intelligent about it. She just writes so so beautifully about the love life, about the passion and about the pain. It really cultivates a desire in me to fall deeply in love with someone. 

Her adventures, to Mexico, her survival in NYC with no money, her pereservernce in difficult and suffocating situations, give me such inspiration. And makes me want to demand more of myself. 

And this is true when I look at my grandmother work. There's a powerful perseverance. Survival. Motion.  

I think someone should make a film about Audre's life, based on this book. 

So here are some really powerful quotes from the book that I Starred or "Wowed"

" 'Just because you're strong doesn't mean you can let other people depend on you too much. It's not fair to them, because when you can't be what they want they're disappointed, and you feel bad.' " (153)
"It was here in the breathtaking dawns and quick hill-twilights of Cuernavaca that I learned it really is easier to be quiet in the woods. One morning I came down the hill toward the square at dawn to catch my ride to teh District. The birds suddenly cut loose all around me in the unberlievable sweet warm air. I had never heard anythign so beautiful and unexpected before. I felt shaken by the waves of song. For the first time in my life, I had an insight into what poetry could be. I could use words to recreate that feeling, rather than to create a dream, which was what so much of my writing had been" (p169) 
"in a paradoxical sense, once I accepted my position as different from the larger society as well as from any single sub-society - Black or gay - I felt I didn't have to try so hard. TO be accepted. To look femme. To be straight. To lok straight. To be proper. To look "nice" TO be liked. TO be loved. TO be approved. What I didn't realize was how much harder I had to try merely to stay alive, or rather, to stay human. How much stronger a person I became in that trying" (p181) 
"Muriel and I talked about love as a voluntary commitment, while we each struggled through the steps of an old dance, not consciously learned, but desperately followed. We had learned well in the kitchens of our mothers, both powerful women who did not let go easily. In those warm places of survival, love was another name for control, however openly given" (p214)
"I lost my sister, Gennie, to my silence and her pain and despair, to both our angers and to a world's cruelty that destroys its own young in passing - not even as a rebel gesture or sacrifice or hope for another living of the spriit, but out of not noticing or caring about the destruction. I have never been blind to that cruelty, which according to one definition of mental health, makes me mentally unhealthy" (252) 


Sooo for real, the reason I didn't make more posts this month is cuz I didn't do that much. The whole, gigs will come my way and I'll totally make enough money to pay my bills didn't pan out that well in January. And it didn't seem to improve in Feb either...

So I was feeling kinda stressed, thinking about my options, considering ways to not burn through my savings while I spent a fortune repairing my car. Waiting on people to hit me up. etc etc. Not having a job can be very stressful and time consuming when you don't know where your money is coming from! 

And then things are seeming to come thrruuuu. It looks like I'll have a contract with  WonderRoot, which, if it goes through as it seems that it will - will provide me with a pretty consistent income for several months. Not a ton, but enough to ease some of the stress I've had to deal with in February. I would also get the opportunity to meet some interesting people through the gig and hopefully expand my community in this city even further. 

Here's to hoping it all works out!!!



Being involved with this organization is cool - giving me a chance to slowly get more familiarized with "Solidarity Economy", "Next Economy", Coops, conscious consumerism, non-hierarchical decision making etc etc. I realize that ultimately everyone has certain skills, a certain awareness and if I can contribute with what I know how to do and like to do, I can feel ok with not being as skilled in other areas. 

I haven't done graphic design in a while, especially not for anyone other than myself. I was pretty happy with the logo I came up with - and it's definitely inspired by my father's process of drawing things out by hand and then translating it into a digital design. 


This is my first BTS update in 2018. The longer I put off doing one of these, the harder it becomes. After this I plan on going back to doing  weekly/bi-weekly updates. 

One "resolution" I made is to take more casual phone videos, which still have the feel of a home video rather than a professional videography. There's charm and sincerity to that, and having those videos to look back on in the future will be very valuable. So in this post I will feature some videos that capture some intimate and private moments of the first month of the new year.


"Love - In my heart, in my mind, in my gut"

New Years is the one holiday that I absolutely have to come home for. I appreciate it as a yearly ritual - an opportunity to check in with family. Because the Soviet Union officially had no religion - New Years became THE holiday. In a lot of ways it's similar to Christmas: New Years Tree, Grandpa Frost (our Santa), gift giving, a feast - family. As children we would dress up in costumes - we haven't done it in many years, but maybe next year. Since I was coming home for New Years, Sequoyah and I organized another album release on Jan 7th in Brooklyn. He came up with me from Atlanta and was with my family and I through the Holidays. My friend Emily also joined us for NYE, which I'm very grateful for. My cousin got engaged, his fiance Maria was there. Overall a packed, and very festive new years. I got everyone my favorite books from the past year as presents, so I hope they resonate with everyone as well. (Books: Sister Outsider by Audre Lorde, Of Woman Born by Adrianne Rich, The Fire Next Time by James Baldwin, Go Tell It On The Mountain by James Baldwin, The Coming Insurrection by The Invisible Committee and Dreams, Memories, Reflections by Carl Jung.)" 



Sequoyah and I put on the second iteration of our Dance Dream Tea Room (name still in the works). The week leading up to the show broke records in how cold it was. It was compounded with a bomb cyclone. Through the frigid conditions, Sequoyah and I spent stressing, laughing, shivering, indulging and exploring as we schemed the show. Ultimately the show gave me a huge high - my family, friends from middle school, high school, college and from Atlanta, were all there for a wild clashing of worlds. 

One of the best aspects of the show was that I finally shared some of my footage from Ukraine, during the INCREDIBLE opener, Natalie Moses + Monster Truck.  The reception of the footage has motivated me to finally start working on the installation work. 


"I have a lot of joy in my heart. Power in my muscles. Love in my veins. Thankful and Grateful for the opportunities life has and continues to offer me. Relationships are the most sacred bonds I can create and cultivate. My art helps in that journey." 

I'm officially in my mid-20s. At my current age, my parents had a 2 year old child. In another 2-3 years (perhaps at 27?, an important year I've been told) , I will enter a new stage in life where I will be the same age as my parents in my memories. I wonder what kind of psychological effect that has on people? I wonder if adults having children later and later in life, meaning that their children don't have memories of their parents their own age until later in life, effects their overall maturity. Or preparedness for parenting. I wonder if anyone has ever studied this phenomenon in any detail. 

In any case, I'm very excited for this year. Looking back I'm very happy with how many collaborations I was able to manifest. I have forged some really powerful bonds in the process, which I am carrying into my 25th year. Decisions compound and life becomes more and more interesting. This bring me to a new challenge that I'm very excited to tackle:


This project has definitely been at the forefront of my mind. I was discussing the script with close friends before I left for NYC and was one of the last things my sister and I discussed while I was there. Their insight was really invaluable.

As soon as I got back to ATL, I jumped into the script and made a solid rewrite, which I shared with Anicka. She loved it. So now I'm fine-tuning it and am starting to reach out to people to build a crew as I also apply for grants and funding. 

As part of my process in developing this film, I've been watching films directed by women, starring strong female leads and/or about the erotic. Some of my favorites are: The Meetings of Anna by Claire Denis, Home by Ursula Meier, The Marriage of Maria Braun by Reiner Fassbinder, and the Piano Teacher by Michael Haneke. (Isabelle Huppert is an absolutely stunning actress).

I've also been watching a lot of dance shorts and this is one of my favorites:



While I was gone, The Bakery threw a very succseful NYE Masquerade Ball inspired by David Bowie's The Labyrinth. When I got back The Bakery hosted Power to the Polls AKA Womens March Year 2. It was the most number of people I have ever seen there, close to 3 thousand? It all went very smoothly thanks to everyone involved. Because I'm out of space on my Vimeo profile for the week, I'm linking a life Facebook video that I recorded during the event. 

The Library also officially opened while I was in NYC.

While you can learn in detail what The Library is about on the Patreon, here's a quick rundown:

It's a Co-Op (multi stake holder) organization (official legal status to be determined) that will be home to 4 main initiatives: Citizens Consumers United, Digital Sovereignty, Next Economy Alliance and the Seasonal Convergence.

Citizens Consumers United An association aimed at galvanizing the tremendous untapped purchasing power of individuals and communities. Through education and community accountability, we hope to change buying habits away from exploitative, extractive, monopolistic industries, and instead nourish ethical alternatives while forming a symbiotic relationship between producers and consumers. 

Next Economy Alliance An educational series providing a space for a variety of discussions and educational series centered on how to make a just transition to a more equitable and sustainable socio-economic system.

The Digital Sovereignty Collective A forum for diverse individuals from the tech, arts, wellness, food, civic and social justice spheres to converge and discuss how decentralized, p2p (peer-to-peer) tech can facilitate the emergence of bottom-up economic alternatives, enable sovereignty over our own data, and empower grassroots coordination for exchange and decision-making.

Finally there will be a quarterly Seasonal Convergence on the solstices and equinoxes. I co-founded this with Sophia with the first Winter Solstice end of 2017 and it was a great turn out of local creatives and activists that has already led to some really exciting collaborations. 


Happy to be back home in 1254 with these fools. 

BTS 2017


Finally got to do some work with Living Walls. Got to meet Chip Thomas. Got to meet Killer Mike. One of the better Mondays. 



Katy "What is the intention?"

Sequoyah's Music Video. Intetion: Make Something Beautiful. <-- Memory: Anicka reminds me of this in a coffee shop. Beautiful Collaboration.

What are we digging into/ Our desire for connection --> language


#ME asked ME "King, why did YOU wake up in the morning". I respond by repeating the question, which made no sense to ME.

#ME woke up to "Serve"

"Why did I wake up?" and "What is the Intention?" 

"Why do I wake up in the morning" - To build community. The more skills I have, the more useful I am. Freedom. Friendship. 

"'Friend' and 'Free' in English come and "Freund' and 'Frei' in German come from the same Indo-European root, which conveys the idea of a shared pwoer that grows. Being free and having ties was one and the same thing. I am free because I have ties, because I am linked to a reality greater than me". (To Our Friends p 127) 

The more freedom I have, Fuck #Me, Mean

Follow @greetingsme7 to plug into what #ME has to say. #ME KNOW #ME

Follow @greetingsme7 to plug into what #ME has to say. #ME KNOW #ME


Living Walls. After the storm cleared, I was out on Buford Highway filming most of the week. Filming the talented artists as they put up their work, filming the Living Walls crew and volunteers working tirelessly to support the artists, filming the community as it joined in the passion of the work. 

Here are some pictures:



Finished "Heart Balance", my first mural at The Bakery. The biggest change was the addition of white flourishes, which really opened up all the energy stored in the colors and geometry. I knew white was the answer, and one of the motivations for using it was advice I got from an art teacher back in first grade. I was working on a painting of underwater fish that was meant to be in a "stain glass" style. He told me to add white to the paining to really make it pop. I didn't really understand what I was supposed to do, and he added some elements for me. It really worked, and the painting was featured in the school calendar for the month of January. It's really beautiful how advice from 19 years ago helped me find the way with this piece. 

The Bakery Opening. I'm disappointed that I didn't take more photos and video of the work that we put in before the opening, but I'm very happy with how things went. Willow is a badass and I have really high hopes for what we can accomplish with the space.



I've spent a solid part of this week finishing The Guild video. Niki and I met almost a year and a half ago at Atlanta Film Festival. We started talking about doing a video, and it slowly materialized over time. In that time I built a real relationship with her and her team. Connecting in unexpected places through beautiful people. The video should be coming out soon. 



I've been brainstorming with Anicka on how to approach her dance project "Sunday Mornings at 7" from a film perspective. Part of the challenge is for me to really understand the core of what this work means to her and why she is developing it. The work is based on the Cupid and Psyche myth, and I'm trying to understand what "myth" means in a modern context. I can probably find some literature on the subject. 

For inspiration I watched "Pina" by Wim Wenders and was blown away by the quality of dance, and the masterful translation of the work to cinema. I hope I can develop my craft and perception to approach the level of sincerity and emotional depth of Pina. The diversity of people, the actors is really breathtaking. The quotes they share from her are brilliant. 

"Go on Searching" "Make me Scared" "Dance for Love" "What are you longing for? Where is the yearning coming from?" 

Attended a rehearsal this Sunday. Had a conversation with Anicka to further discuss the heart of the project. Feel like I got some real serious closure. As a man - this is a rare opportunity that I need to value as deeply as possible. 

Read the introduction to the book Bloom, that my friend Ariana let me look over while at the Goat Farm. (I should make an effort to be there at least once a week).

"Desire needs to be embedded in empathy"

"praying to the energies from the earth, willing the limped serenity of the skies, meditating on the still reflections of the waters. Honoring the gods of small things."

"But a Fool's Paradise also where comical and surreal creations are paraded with zeal to act out the trivial aspects of human condition, stretching the borders of belief to include a hallucinating faith in the power of imagination and story telling, a fold tradition that thrives and even gains importance, giving wings to the carnival of naked truth." 

"Delving in a deep well of human experiences tokes from the selvage of time." 

-Lidewij Edelkoort



Journal Entry November 6, 2017

"On a plane back to Atlanta. A wonderful and very necessary trip. "Be in the moment with Joy" 

The waterfalls. 

The mountains.

The sky.

The water. 

The fire. Warm bodies.

Full moon. Bright white.

Alec - from Donetsk.

Infinite gratitude to the energy of Colorado. It has worked its healing magic on me. I am focused and clear. I must actively maintain that state of mind for my own good."

Finished the tea bus video as soon I got back from Denver with some footage that I got there.



Friday November 17th Sequoyah and I premiered his album Dream Sequence and the "Blue Jays" film at Argha Noah. This week's post is a reflection on my experience collaborating with him so far. 

"I found a rare gem in Sequoyah as a Collaborator" - Journal Entry

Another big inspiration on this project was Wong Kar Wai. Specifically his brilliant use of color and the step printing technique. (There's an cool video essaythat explores ways in which Moonlight by Jenkins might have been influenced by Wong Kar Wai's work.)

This video is from a rehearsal at the Work Room. Sequoyah and Anicka had been praciticing his movement for several weeks and  I came to see how it translates to video, espesially at low shutter speeds/low frame rates.



Enchanted. Crowned by Shira.

This film premiered December 2nd at Shira Benson's launch of her new website and release of her Crowns. It was an awesome experience and I'm very honored to have been part of the event. I was humbled the reception of the film and hope that it helps spread her work to a wide audience.

When she commissioned this film, I was reading Carl Jung's writings on alchemy, specifically his thoughts on Coniunctio or the "sacred marriage".
"Literally, “conjunction,” used in alchemy to refer to chemical combinations; psychologically, it points to the union of opposites and the birth of new possibilities."
In conceptualizing the film my goal was to understand and communicate Shira's intention with the Crowns. I needed to cinematically manifest the Power of her work.
It was a challenge. I first met Shira as her new roommate when I arrived to Atlanta. Our personalities were strikingly different and we came from alien worlds. In many ways we were opposites. Our yearlong collaboration on this film, with all its complications, reflects our new friendship and is itself a "union of opposites and the birth new possibilities".
I think that's beautiful, and it inspires me to seek new collaborators.


One more interesting note:
In originally envisioned a scene lit by moonlight. It was an unrealistic goal considering the limitations of the shoot. Looking back at my notes on the project I found this quote from Jung striking:
"Seek the coldness of the moon and you shall find the heat of the sun."
I wish her the best of luck and envision much success for her work.

Here are some BTS photos of the film shoot:


If you've made it all the way down the page, Thank You very much for following my work. I'm excited to continue collaborating with you.

I wish you Love, Peace, Joy, Gratitude, Kindness, and Beauty in 2018. 








Anneliese made an all vegan Thanksgiving Dinner. Really proud of her and her new Vegan Catering business - By Way of Plants

Journal entry:

"I'm grateful for the support system of this home. Food - abundance, laughter - warmth

Grateful for opportunity - this point last year I hadn't even started working on Life.

Ebrima spoke of twenty seven. 27.

I will be 25. 

I have time - will not wait for it like some magic moment.

Rather I will reflect on it as  life flows through it."




Been working on the Sunday Morning at 7 film. A lot of conversations with Anicka. Going to rehearsals. Rereading Audre Lorde. Talking with women in my life. Watching female directors. 

A really awesome moment came when in trying to create a narrative structure for the film with Anicka. We were able to use a painting I finished back in March as a reference to the narrative flow. The sketch is the foundation of the painting, and the dances happen at major points within the diagram. 

"My Heart is a Volcano" sketch, used as a diagram to lay out the narrative and dance flow of the Sunday Morning at 7 film. Photo by Lev Omelchenko.


Journal Entry with quotes from Audrey Lorde's "Uses of the Erotic"

"Erotic offers a well of replenishing and provocative force to the woman who does not fear its revelation, nor succumb to the belief that sensation is enough" 

pornography supression of true feeling

"Erotic is a measure between the beginnings of our sense of self and the chaos of our strongest feelings"

guide own destiny

"For the erotic is not a question only of what we do, it is a question of how acutely and fully we can feel in the doing."

Our world defines the good in terms of profits rather than in terms of human need. 

"The principal horror of such a system is that it robs our work of its erotic value, its erotic power and life appeal and fulfillment."

"Eros the personification of love in all its aspects - born of Chaos and personifying the creative power and harmony" 

Conversation with my sister. "Finding my Voice"

Conversation with Katy. "Fear and Power to give life. Same power Nature has. Erotic energy is just being human. It's feminine. 




This film premiered December 2nd at Shira Benson's launch of her new website and release of her Crowns. It was an awesome experience and I'm very honored to have been part of the event. I was humbled the reception of the film and hope that it helps spread her work to a wide audience.

When she commissioned this fashion film, I was reading Carl Jung's writings on alchemy, specifically his thoughts on Coniunctio or the "sacred marriage".
"Literally, “conjunction,” used in alchemy to refer to chemical combinations; psychologically, it points to the union of opposites and the birth of new possibilities."
In conceptualizing the film my goal was to understand and communicate Shira's intention with the Crowns. I needed to cinematically manifest the Power of her work.
It was a challenge. I first met Shira as her new roommate when I arrived to Atlanta. Our personalities were strikingly different and we came from alien worlds. In many ways we were opposites. Our yearlong collaboration on this film, with all its complications, reflects our new friendship and is itself a "union of opposites and the birth new possibilities".
I think that's beautiful, and it inspires me to seek new collaborators.

One more interesting note:
In originally envisioned a scene lit by moonlight. It was an unrealistic goal considering the limitations of the shoot. Looking back at my notes on the project I found this quote from Jung striking:
"Seek the coldness of the moon and you shall find the heat of the sun."
I wish her the best of luck and envision much success for her work.

Here are some BTS photos of the film shoot:




Winter Solstice at The Bakery presents The Good Work. Sophia Gallagher brought together a wonderful group of creatives, artists, innovators, entrepreneurs, and local people doing good work in Atlanta. 


Journal Entry after the Event:

Katy "The magic that we thought was magic, is hummanity" 

"The Winter Solstice - thank you Sophia for inspring us all to meet and discuss our work. Willow and Sophia and Olive all showed me gratitude for hosting - something that came pretty easy to me - and thankfully it was good. 

The real joy comes from feeling like we're growing something meaningful. Powerful.

Willow is really experienced - really knows what shes doing - even if she doesnt - she knows more than anyone else in the space. Whatever happens, she will a very powerful ally.

And I'm glad I can be an instrument in bringing her vision to life." 

"I had the vision in Ukraine of a space - like The Bakery - I had a vision of it - it motivated me through a literal vibration through my bones. Vibration. Energy. 

I was honored to screen a short documentary on one of the most inspiring people I've met in the past year, Guisepe Spadafora. The Tea Man. 




Sequoyah and I are traveling together. First few days will be spent with my family before and on New Years. We plan on exploring the city for the first week of January, as we prepare for the second Album Release of the Dream Sequence at The Glove in Brooklyn on January 7th. I will hang back in NY for another week until my birthday, to spend it with my family for the first time since I was in High School. There is always a mix of emotions going home, seeing family, seeing old friends, re-discovering and exploring a city I left behind. Here is a poem:


How often do we think

of our heart.

A well of emotion

of Love

of pain

We must remember

our shared humanity

Unconditional Love

I extend to you all

Love as well as I know how" 



Friday November 17th Sequoyah and I premiered his album Dream Sequence and the "Blue Jays" film at Argha Noah. This week's post is a reflection on my experience collaborating with him so far. 

"I found a rare gem in Sequoyah as a Collaborator" - Journal Entry


I first met Sequoyah at his tour kickoff at the Atlanta Contemporary. I thought I would miss his set and almost didn't leave the house, but took the chance. I had been listening to his music while filming practical effects for LIFE and was captivated. 

I got there just as he went on. His dad was on drums and his mom was the back up singer. He was even better live. I offered to do a music video with him and he sent me some demos. Blue Jays stood out. I developed an idea and shared it with him in Inman Park after a long conversation about our lives and loves. I created this treatment to prove the concept.

One of the biggest inspirations for the project was Kahlil Joseph. I first became familiar with Kahlil's work after attending a Liquid Blackness talk at GSU with him as a guest speaker. His work totally entranced me, and became a huge inspiration for the project. Some of the images used in the treatment come from his work on "Process" by Sampha,  and "Until the Quiet Comes" by Flying Lotus. 

Other images are sourced from: "Moonlight" by Barry Jenkins, Alexandre Moors & The Little Homies music video "i" for Kendrick Lamar, Grace Jones' performance footage, Maceo Frost's "Raised by Krump" documentary, "Shame" and "Voodo in my Blood" music videos for Young Fathers, and "Key and Peele" sketches


Another big inspiration on this project was Wong Kar Wai. Specifically his brilliant use of color and the step printing technique. (There's an cool video essay that explores ways in which Moonlight by Jenkins might have been influenced by Wong Kar Wai's work.)

This video is from a rehearsal at the Work Room. Sequoyah and Anicka had been praciticing his movement for several weeks and  I came to see how it translates to video, espesially at low shutter speeds/low frame rates.



Some photos that I snapped here and there during the development/filming/post process. I wish I had taken more, but when I'm doing a lot of jobs on a project, I can forget to pick up the camera. 



These are some of my journal entries while I worked on the project. 


Months after the project was finished we premiered the album "Dream Sequence" and the music video at