Nobody

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Hands Up

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The Wake

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Ungendering

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My Gender Is Black

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Homegoing

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White Washed

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I Am More Than Just A Pretty Picture

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A Dead Name That Learned How to Live

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A Dead Name That Learned How to Live


The afterlife of slavery, coined by Saidiaya Hartman, creates a world where marginality for black people becomes hyperactive; the body then becomes an allegorical site that contemplates what it means to be oppressed through the inheritance of a racialized physical landscape. In this series, A Dead Name that Learned How to Live through large format photography, performance art, and 3D anatomical sculptures I create a world where all these manifestations fight to subvert the European colonial understandings of who Myles Sherrard Golden is.


This breadth of work explores what it means to be black, both as an antithesis to whiteness as well as liberalized constructions of identity: the categorization of race and gender as a marking of access. Reconstructing language visually, spatially, and linguistically this project centralizes blackness as a gender, ethnic, sexual, and geographical identity. Battling not only the exterior/interior subjugation through a racialized, gendered, and geographical dislocated framework within the history of America; these photographs act as indexical evidence of my fight for black liberation.


Presenting itself within the black body, within the black mind, inside the black soul; black becomes its own realm of selfhood that cannot be contained within the framework of whiteness.

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