Our language only functions within the context of a culture predicated upon accumulation that relies systematically on anti blackness. We can not articulate concepts that aren’t, in some way, a production of that ideology. Ricky Weaver has come to find blackness, not as it pertains to the silhouetting of a people, but as a overall condition that exists on the margins WITHIN the Anthropocene. Blackness, when not in response to whiteness functions as the nexus between post-capitalism and now. It is, when undone, the undoing of social structures, like class and gender. 


Weaver is asking that we consider these possibilities by locating this connection through the collective dialect archived within the postures of the black women she photographs. These women, through their cultural and spiritual practices conjure up the God within in them to stop storms. The spatiotemporal effects of their black practices commands the wake to still. Their bodies possess a vernacular that allows us to access worlds that don’t require escape. Maybe it is the “back-facetiness” of century old eyes glaring down the shaft of a nose demanding something from inside you to acknowledge the very thing you deny inside her. Or the smile announcing joy that simply wasn’t supposed to come.


Rickys work co-conspires with the poetics and futurity of Black feminist theory to reify the veil that is colonization. The very translucent material “between the world and me”. Relying upon the authority of the archive within the photographic medium, in conversation with themes of surveillance and black practices, Ricky’s work is attempting to facilitate a slight transitioning, if only a step, towards elsewhere.