WIF first encountered Aaradhya Sunder when she was 11 years old.  At that time, she was preparing to participate in the 2025 edition of Art Capital Paris, where she would become one of the youngest participants in the 340-year history of the show.  We were pleased to post about her trajectory as an artist and showcase this marvelous opportunity.

This summer, Aaradhya achieved yet another outstanding milestone in her budding artistic career.

At a ceremony in Washington, D.C., on July 28, 2026, she received a Certificate of Exceptional Artistic Accomplishment recognizing her "as a winner of the 7th Arts Olympiad, the world's largest school art program, for making an outstanding artistic contribution to the 7th World Children's Festival on July 25-27, 2026, at the National Mall across from the U.S. Capitol."

The certificate is signed by International Child Art Foundation Founder and Chairman Dr. Ashfaq M. Ishaq.

Award Certificate

The work she presented, The Artist-Athlete, argues that a child should not have to choose between creativity and athletic discipline, or be defined by a single talent. The festival also served as the national children's celebration of America's 250th birthday.

In The Artist-Athlete (2025, acrylic on canvas, 61 x 46 cm), a pale palette fills the upper two-thirds of the canvas, its surface divided by a vertical gold line and horizontal bands. A hoop and backboard are drawn in thin red outline directly onto that surface, with a small figure shooting toward it, creating the effect of one field serving as both mixing surface and court.

Within the palette, a second figure raises a ball in one hand and holds a brush in the other, while an oversized brush cuts diagonally across the composition, its bristles breaking past the palette into the blue at the upper right.

"I did not want to show art and sport as separate," said Aaradhya, who participates in several sports as well as visual art.

During the festival, Ishaq viewed the painting and spoke with Aaradhya about it. He then issued two signed documents on ICAF letterhead: a recommendation and an Artistic and Developmental Appraisal of The Artist-Athlete, a critique of a single work rather than a general testimonial.

In the appraisal, Ishaq read the basketball as a symbol of movement, concentration, teamwork, perseverance and repeated practice. He wrote that the figure's pose, the placement of the ball and the visual rhythm of the composition communicate energy rather than a static portrait. Its underlying argument, he observed, is that children should not be confined to a single ability, label or expectation.

"What distinguishes Aaradhya is not merely her ability to make art, but her emerging capacity to use art as a means of thought," Ishaq wrote.

Calling The Artist-Athlete an integrated ideal founded on imagination, discipline, resilience and self-expression, Ishaq recommended that Aaradhya continue studying anatomy, gesture, proportion and the representation of movement, and extend the idea across other athletic forms, perspectives, emotional states and media.

Aaradhya has created more than 200 original works across painting, drawing, mixed media and claymation. Six of her claymation works were exhibited at the Gallery Children's Biennale at National Gallery Singapore; she was a laureate at an international children's art exhibition in Beijing in 2025; and her work has been presented at three TEDx-linked art exhibitions in Singapore.

Her development has included school learning at both German School and American School in Delhi, foundational mentorship with Dipti Karki in Delhi, sustained studio instruction at Little Artists Art Studio in Singapore under Shalini Kapoor, Junior Arts learning associated with NAFA, the Nanyang Academy of Fine Arts, and MoMA online children's programs.

Aaradhya's practice has moved from observation and environmental responsibility toward self-portraiture, identity and the body in motion. In his recommendation, Ishaq said she merits consideration for curated youth exhibitions, museum and arts-education programs, interdisciplinary initiatives, artistic mentorship and international platforms. He recommended her to curators, educators, cultural institutions and mentors committed not merely to displaying the work of young artists, but to helping them develop depth, independence and a sustained artistic voice.

Find Aaradhya's portfolio at www.DreamArtCove.com

We are pleased to introduce The Beauford Delaney Project, a new digital humanities initiative dedicated to advancing scholarship, fostering creative engagement, and expanding public access to the life and legacy of Beauford Delaney (1901–1979).

The project's new digital home may be explored here:

The Beauford Delaney Project

For more than sixteen years, the French nonprofit association Les Amis de Beauford Delaney has been our close partner in preserving and expanding Beauford's legacy.  Even before WIF existed, the Les Amis de Beauford Delaney blog served as a space for sharing research, archival discoveries, historical reflections, and scholarly dialogue concerning Delaney's life and work.

The creation of The Beauford Delaney Project marks an important evolution of that effort, providing a broader framework through which research, education, and public humanities initiatives can be developed and shared.

At its core, the project is guided by a simple but important premise: that the study of Beauford Delaney's life and artistic achievement offers rich opportunities for interdisciplinary inquiry while also serving as a catalyst for educational and community engagement.

As one of the most significant artists of the twentieth century, Beauford's life invites exploration across multiple fields, including art history, African American and Black Diaspora studies, and LGBTQ+ studies. His experiences in Knoxville, Boston, New York, and Paris provide valuable points of entry into broader conversations about creativity, migration, identity, race, transnational exchange, and artistic community.

Through the Beauford Delaney Project, WIF seeks to support and encourage these conversations while making scholarship more accessible to audiences beyond traditional academic settings.  We also intend to expand the range of scholarly exploration of Beauford's life and work into less conventional disciplines such as cultural geography, art therapy, and music.

A Foundation for Future Scholarship and Public Engagement

This project has been conceived as a long-term initiative that will bring together students, scholars, artists, educators, and community members through a range of interconnected activities.

Among its areas of focus are:

• The development of a digital platform that supports scholarship, research dissemination, and public engagement;
• Educational initiatives that connect students to Delaney's life and artistic practice;
• Opportunities for experiential learning through travel and cultural exchange;
• Support for emerging scholarship through future fellowship and scholarship initiatives;
• Creative projects that explore new approaches to interpreting and sharing Delaney's legacy.

In this respect, The Beauford Delaney Project reflects a growing movement within the humanities to bridge the divide between academic scholarship and public audiences, ensuring that knowledge is both rigorously developed and widely shared.

The First Project Underway

We are also pleased to announce the first project to be undertaken through this new initiative.

This summer, George Henry, a recent graduate of Amherst College with degrees in Black Studies and Computer Science, has joined the Wells International Foundation as a Summer 2026 intern.

George Henry

Henry's academic interests encompass Black Studies, archival practice, ethics and technology, Black feminist theory, Queer of Color Critique, and questions surrounding memory, representation, and historical recovery. Their interdisciplinary background makes them uniquely positioned to engage with Delaney's legacy through innovative forms of interpretation.

Over the coming weeks, Henry will begin research for a sound-based project that explores Beauford Delaney's relationship to New York City. Drawing upon archival materials, historical research, and field recordings gathered from locations associated with Delaney's life and work, the project will seek to create a series of immersive soundscapes that invite audiences to consider the auditory dimensions of place, memory, and artistic experience.

The completed work will be shared through The Beauford Delaney Project as it develops.

Rather than asking only what Delaney saw as he moved through New York, this unique project invites us to consider what he may have heard—the sounds, rhythms, atmospheres, and environments that formed part of his lived experience and artistic world.

In doing so, Henry's work exemplifies the interdisciplinary spirit that lies at the heart of both digital humanities practice and The Beauford Delaney Project itself.

Looking Ahead

We are excited by the possibilities this project presents for future scholarship, creative practice, and public engagement.

Beauford at rue Vercingétorix studio

Our intent is not only to preserve knowledge but also to generate new forms of inquiry and interpretation. By creating opportunities for students, scholars, artists, and communities to engage with Delaney's life and work, we plan to contribute to a deeper understanding of his indelible significance within American, Black Diasporic, and global cultural history.

We invite readers to follow the development of the project, explore the new platform, and join us as this work continues to evolve.

Visit The Beauford Delaney Project digital hub HERE.

WIF is pleased to welcome its Summer 2026 intern!

George Henry is a recent graduate of Amherst College who double majored in Black Studies and Computer Science. As a Queer, Jamaican and Mexican scholar, they are deeply passionate about uplifting and understanding the nuances of Blackness across the diaspora while working to ensure that new technologies like AI are equitable rather than exploitative.

George completed rigorous study at the intersection of ethics, technology, and Blackness at Amherst, with a particular focus on African and Caribbean theory and literature, Black feminist theory, Queer of color critique, and archival reclamation.

Deeply passionate about music production, sound, and aural archives, they studied music production at the Royal Danish Academy of Music during a semester abroad in Copenhagen and created an audio-visual senior capstone project titled "Rest," which explored rest as a tool to resist capitalism and recover the Black women and other marginalized subjects erased by traditional archives and scholarship.

Supported by the Wells International Foundation as an intern this summer, George will create a series of soundscapes mapping Beauford Delaney's movement throughout New York City, capturing the effervescent and ephemeral yet fundamentally human spirit within his works.

They will:

• Spend several weeks researching Delaney's paintings and life in New York, developing both an empirical and embodied understanding of his world

• Travel to Greenwich Village, Harlem, and other locations Delaney frequented, recording atmospheric field recordings of the environments where he worked and lived

• Gather and edit those recordings into a series of soundscapes and musical collages to be displayed on the Wells International Foundation Website for The Beauford Delaney Project—Where Scholarship Meets Community.

Alana Manga
Inaugural Dean of Student Success 
Paris College of Art

In April 2024, WIF had the pleasure of working with the Paris College of Art (PCA) to introduce U.S. high school students from the Going Global with Barbara International Youth Leadership Program to the possibility of pursuing undergraduate education abroad.

As the college's Director of Student Success and Registrar, Alana Manga was instrumental in organizing this life-changing visit for the program's first all-male cohort.

For our second visit to PCA (November 2025), we are thrilled to acknowledge that Manga is working with us in a new position as Inaugural Dean of Student Success.  She graciously granted us this in-depth interview to share her trajectory to this new role and what the post means to her.

WIF:  You began your academic journey in the sciences before moving into education and student success leadership. What inspired that shift, and how do those early experiences continue to shape who you are today?

Dean Manga:  I was always drawn to teaching, reading, and how people learn. I taught my dolls as a child, and would often share my thoughts with family, neighbors, really anyone who would stand still long enough. Little Alana knew things and was going to share them!

At the same time, I observed my parents, who were influential in their spheres, demonstrating how to educate to improve the world in their professional roles. I sought to imitate how they cultivated communities of thought and care around them.  There is a ripple effect to this kind of exchange; ever enlarging and impactful, both directly and indirectly.

Pragmatically, the summer before my senior year of undergraduate study in biology, I worked on a project co-funded through the New York State Department of Labor’s Summer Youth Employment Program. My job was to tutor summer school students, developing workforce readiness lessons that aligned with curricular modules. I was HOOKED! The students were delightful, the material interesting and relevant, and it was eye-opening to me. Yes! Meaningful teaching and learning happens outside of the traditional classroom setting, too.

When I returned to my college campus after that summer, I sought out elective courses at the education department of my college. Then, after completing my undergraduate degree, I chose to begin a Master of Science in School Psychology. I wanted to investigate the praxis of small-group knowledge transmission in a non-traditional setting. Thereafter, I pursued a MA in Education and a Certificate in Educational Administration to understand the policy that undergirds the work of knowledge transmission.

Kindness, community building, non-traditional teaching and learning, and an understanding of institutional theory and practice are the gifts I have received from these experiences and carry forward.

WIF:  You’ve worn many hats over your career—teacher, counselor, professor, director, and now dean. Looking back, what thread ties all these roles together for you?​

Dean Manga: In each of my professional roles, building community with kindness has been an integral characteristic. You know, this is the real underpinning of the work of educators. We draw people closer to encourage thinking, listening, sharing ideas in order to change their lives and others around them. And I think kindness is inherent in this work; I mean that the act of teaching others demonstrates a belief of cultural community, continuity and hope.

WIF:  Paris College of Art has been your professional home for nearly a decade. What first drew you to PCA, and what keeps you inspired to contribute to its growth?​​

Dean Manga: PCA is a lovely school of arts education in the 17eme arrondissement. I happened to see their search for a registrar in 2016. I thought it would be an interesting opportunity to apply my U.S.-gained experience in an international environment. I am lucky that I am able to continue the work that I love in a school that is evolving and student-centered.

The students encourage me. They are bright, curious people, most often young adults, who are at an important stage in their human development. Their passion for their artistic/design practices is phenomenal. I enjoy watching their growth and learning about the passions that capture their artistic/design imaginations.

Paris College of Art viewed from
esplanade at boulevard Pereire

WIF:  This new position of Dean of Student Success is a milestone for both you and PCA. How did you feel when you learned you’d be stepping into this inaugural role?​​

Dean Manga: I was and am still excited! This is a strategic leadership role that directly and indirectly impacts the student experience at PCA; both pastoral care and policy. I have the privilege of knowing the students individually and collaborating with other Administrators to align positive student outcomes across multiple dimensions.

There is also a very talented Student Success alliance of creative individuals with whom I have the pleasure of collaborating. They are invested in the work of developing a continuum of support and extra-classroom learning that aligns with the curricula. I am deeply impressed with their efforts and am encouraged by their capacities to lead.

WIF:  You often speak about empowering students to take ownership of their journeys. Can you share a story of a student who reminded you why that kind of agency matters?​​

Dean Manga: I have been very lucky to be present for many illuminating moments. I think the common thread has been witnessing students' sudden personal growth, developing situational awareness, and subsequently asking for help. There is agency in self-reflection, articulating one's needs, and seeking assistance to fulfill them.

WIF:  Moving from the U.S. to France is no small leap. How has living and working in an international academic community influenced your views on inclusion and belonging?

Dean Manga: Situating myself in an international academic environment has emphasized the importance of building community and coalitions where I am. For this reason, I think that inclusion efforts must be personalized and meaningful.

Why?

As noted by Sara Ahmed, in her book On Being Included, institutional thought on belonging is traditional, often-shallow, and slow-moving. Thus, only relevant and consistent efforts will lead to true change over time.

Alana Manga speaking to the April 2024 all-male cohort for the Going Global with Barbara International Youth Leadership Program

WIF: You’ve served as both an educator and an advocate. What have your students—and perhaps your colleagues—taught you about resilience and creativity in challenging times?

Dean Manga: I have profited from ties to many amazing colleagues and students, many of whom were from populations that have not been traditionally welcomed in higher education. For this reason, their very presence was revolutionary and hopeful.

I have also benefited from their gifts in demonstrating that change takes time and institutions move at a glacial pace. I have witnessed colleagues, assigned to various roles within a college, foster environments that welcome all students; serving as informal mentors. In my eyes, this is the beloved community at work, regardless of budgetary constraints, limiting policies, and traditional knowledge transmission discourse.

WIF: Leadership can be both demanding and deeply fulfilling. How do you nurture your own sense of purpose while helping students find theirs?​

Dean Manga: My four children strengthen my purpose. They are the ones that give me the motivation to work with integrity and to expand my understanding of who I am and what I can do. I want to demonstrate to them that they can overcome any obstacle in their life journey. And lastly, I want them to be proud of me, as I am incredibly proud of them.

WIF: You once chaired the board of a nonprofit that fought homelessness and poverty. How did that experience shape your understanding of the broader social and emotional dimensions of student success?​

Dean Manga: Student success is not limited, in my purview, to earning an “A” in a design course or writing a perfect art history essay. Student success is a holistic framework that encompasses the physical, mental, emotional and psychosocial aspects of a person. Is the student prepared to learn? Do they have a quiet place to work? Do they have all of the materials to start their work? Do they require accommodations for their assignments? These are a few of the critical factors that encourage student success.

I think the visual forwarded by psychologist A. Maslow is an ideal criterion for considering human needs. If basic physiological needs, a sense of safety, and a sense of belonging are not present, the higher-order thinking necessary for academic or creative/design practices is derailed.

WIF: The arts have a unique rhythm and energy as a discipline. What have you learned about supporting artistic students in particular—their unique needs, motivations, and spirits?​

Dean Manga: What I have learned is that the students need extra-classroom speaking opportunities and different types of space. The student critiques, held at the end of each semester, are an art school rite of passage. The students are taught how to evaluate and communicate their efforts so they can present their work in front of a committee of faculty and external parties who are practicing artists/designers. The pressure on the students to understand the technical aspects of their work, analyze their artistic/design process and communicate all of this in a brief time limit is enormous!

But where can they practice this newfound skill set before the high-pressure end-of-semester critique?

Practice and preparation require community involvement. For practice sessions, students need staff, faculty, and other community members who are not in the classroom and are willing to listen to their presentation-in-process and provide feedback.

The space requirement covers several realms.

Physical space for their practice is needed, of course, but they also need a mental space where they can engage in the “what-ifs” that lead to a new insight in their work.

Another type of space (intellectual) is also necessary to explore other disciplines and domains of learning. Their work requires inspiration, references, and the guidance to situate the same.

Engraving of PCA logo

WIF: When you envision student success at PCA, what does that look like to you—not just in terms of grades or graduation, but also in the lives these students build after they leave?

Dean Manga: I hope that the students know that the community enlarges to accommodate their new identity as PCA alumni. Their connection to their university experience remains intact.

I want them to know that they can define their successes as they choose. Their ideas of what they want/who they want to be can/does evolve. Life demands change, and this is a normal aspect of their maturation as artists/designers.

And I hope they stay in touch, allowing my colleagues and me to celebrate their wins with them!

WIF: The title “Dean of Student Success” carries so much promise. What are your hopes for how this role will evolve and influence PCA’s community in the years ahead?

Dean Manga: I view my role as a liaison and catalyst, making introductions and facilitating conversations to support students through their tenure. At the same time, I have the privilege of
encouraging and supporting initiatives that work towards positive student outcomes.

I see the future Office of Student Success as an array of services, information and connections that meets the student learner where they are, at that moment. This could include “experiential” learning opportunities at any level of study, affinity services that address common complaints of life in a foreign country, and intergenerational connections in the campus neighborhood.

WIF is pleased to welcome its Autumn 2025 intern!

Camryn James is a junior at the University of Arizona, pursuing a major in Cyber Operations with a minor in Hip Hop. He was born and raised in Chicago, a city that fuels both his drive for innovation and his passion for culture.

Camryn's academic journey in Cyber Operations sharpens his skills in technology and security, while his Hip Hop studies connect him to artistic expression and community building.

Outside of academics, Camryn is also a DJ, blending sounds and creating experiences that bring people together through music. He strives to bridge his technical expertise with his creative side, finding unique ways to merge cybersecurity, digital media, and Hip-Hop culture. Whether through his studies, DJing, or community involvement, he is dedicated to building connections, embracing versatility, and leaving a lasting impact.

In Autumn 2025, Camryn will create a new digital home for the Les Amis de Beauford Delaney blog and oversee its seamless migration from Blogger.

He will also investigate the ways in which Beauford Delaney’s art has shaped the work of contemporary musicians.

Together, these initiatives will launch The Beauford Delaney Project – Where Scholarship Meets Community, a digital humanities celebration through which WIF will pay tribute to Beauford Delaney—the visionary artist whose brilliance and spirit inspired WIF’s very founding. This project will be the focal point of WIF’s 10th anniversary, honoring Delaney’s enduring legacy while bringing his influence to new generations.

Dans la ville (In the City) panel discussion
L to R: Amadou Gaye, Laurence Choko,
Christiane Falgayrettes Leveau,
Kévi Donat (moderator), and Monique Y. Wells

A groundbreaking exhibition opened at the Centre Pompidou museum in Paris, France on March 19, 2025.

It is called Paris Noir: Artistic circulations and anti-colonial resistance, 1950-2000.

Paris Noir catalog cover

Beauford Delaney's work is prominently featured in this show.

Indeed, his Street Scene, 1968 is the first painting visitors see when they enter the exhibition space.

View of Room 1 of Paris Noir from entrance

Fourteen (14) Beauford Delaney paintings grace the walls of this extraordinary exhibition, which features the works of 150 artists from Africa and the African diaspora.

Four of the Delaney paintings, including the masterful self-portrait held by the Whitney Museum of American Art, are in the Room 2 of the show.

Auto-portrait
(1965) Oil on canvas
© Estate of Beauford Delaney
by permission of Derek L. Spratley, Esquire,
Court Appointed Administrator
Image of portrait © Entrée to Black Paris

Works by numerous women artists are being shown in the exhibition.  They include a quilt by Faith Ringgold, the woman WIF honored as Legendary Artist for our COVID 19 PAGES - The Influence & Inspiration of Women online exhibition.

Among the many gatherings organized by the museum for the opening week of the show was a two-day colloquium that brought together scholars from both sides of the Atlantic.

On Day 2, WIF Founder & CEO Dr. Monique Y. Wells (pictured at the far right in the featured image at the top of this post) was one of four panelists who spoke on the topic of "In the City" - a discussion of the geography of Paris and the places where Black artists lived, created, exhibited, and socialized.

Dr. Wells presented "Paris Places and Spaces," a talk through which she explained her method for developing meaningful walking tours for Entrée to Black Paris (WIF's partner in the ETBP Cultural Awareness Program) and shared information about the three tours she created about African-American artists in Paris.

Two of these tours feature artist Beauford Delaney.

Dr. Monique Y. Wells presenting "Paris Places and Spaces"

Click HERE to watch Dr. Wells tell the story of how she came to found the French nonprofit organization, Les Amis de Beauford Delaney, and WIF because of her research about Delaney (begin watching at 7:26 minutes).

To learn more about Paris Noir, click HERE.

Katrina Stack is the Graduate Research Assistant for the Beauford Delaney Papers at the University of Tennessee Knoxville (UTK).

For the UTK Department of Geography and Sustainability's 2025 GeoSym conference, she has organized a session entitled "Placing Beauford Delaney: Vision, Identity, and Legacy" to bring together diverse scholarly perspectives on Beauford's rich and multifaceted body of work as well as explore the broader cultural, historical, and social contexts that shaped and were shaped by his art.

Stack was part of a group of University of Tennessee Libraries scholars who visited Paris last summer to conduct research that will support a Beauford Delaney exhibition at its facility in Autumn 2025. The exhibition will feature the Beauford Delaney Papers, which the libraries obtained in 2022 and made available to researchers in January 2024.

WIF eagerly supported this research through the Entrée to Black Paris Cultural Awareness Program, providing two guided walking tours, a visit to Beauford's gravesite, and several hours of consulting as part of its intention to move Beauford Delaney to the forefront of its activities as the 10th anniversary of the Beauford Delaney: Resonance of Form and Vibration of Color exhibition approaches.

Stack granted WIF an interview to share her perspective on these activities from the vantage point of her education and research as a cultural geographer.

Katrina Stack

WIF:  What stimulated your interest in geography?

K. Stack:  My Master of Science in Historic Preservation was housed in a Geography and Geology Department at Eastern Michigan University, and my advisor there, Dr. Matthew Cook, taught a course on “geographies of memory.” We looked at memorials and monuments and street names and museums and considered the way our everyday landscape influences the memory of the past.

I loved the way that it seemed to make the past more present through considering not only the construction of our landscape, but the contemporary engagement with it. To me, geography took aspects I loved about learning about history and found a way to make them very present. Because it is so interdisciplinary, it allows opportunities to study many things with different methods, and also provides space for great collaboration.

WIF:  Please explain what "cultural geography" is and why you are interested in it.

K. Stack:  Cultural geography is a sub-field within human geography, studying the relationship between people, their cultures, space and place.  Cultural geographers are interested in the spatial patterns of culture and how cultures are presented/represented in the landscape. It’s pretty broad and inclusive in that way, which I find exciting as a researcher.

WIF:  What inspired your interest in looking at the African-American freedom struggle from this perspective?

K. Stack:  I am lucky that I have been around some amazing scholars who bridge geographies of memory and Black geographies. In the first year of my PhD, I assisted Dr. Alderman in researching the Student Nonviolent Coordinating Committee and temporary housing of evicted sharecroppers who registered to vote in “tent cities” in Tennessee and Alabama in the 1960s, which greatly influenced my dissertation research.

I was also assistant director of his NEH summer institute for K-12 educators on the role of geographic mobility in the African-American Freedom Struggle. I took a class on Black geographies with one of my committee members, Dr. LaToya Eaves, and she exposed me to the work of influential scholars like Bobby Wilson, Clyde Woods, and Katherine McKittrick (just to name a few!).

There are dominant narratives of the struggle for racial justice in the US South that emphasize certain aspects of the Civil Rights Movement, and I’m inspired by the idea of elevating and centering the stories lesser known people and places who were incredibly important to the efforts of their local community.

There are so many stories that need to be remembered and told. Geography helps us to work toward that and consider the contemporary impacts as well.

WIF:  How did you become involved with the Beauford Delaney Archives, given that it has little to do with geography?

K. Stack:  I saw a post on Instagram about the graduate assistant opportunity, and as I read through the description—working with collections, creating exhibits, public programming and a trip to Paris for research—I saw many things that I hoped to gain experience in. I think, at least initially, I viewed it as more of a memory and public history study, rather than geographical.

I had visited the Beck Cultural Exchange Center a few times, so I knew who Beauford Delaney was. I know a lot more about him now and hope to continue to learn!

Beck Cultural Exchange Center
Image courtesy of Rev. Reneé Kesler

WIF:  When you visit a place as you conduct your research, what do you look for?

K. Stack:  I look for the whole picture, the “assemblage” of the space, if you will. All its parts, including myself, and others in the space. I try not to narrow myself down on looking for particular things because I have found that could mean overlooking things that don’t seem important in the moment.

I look for connections, but I truly try to take in as much as I can, whether that be visiting more places or taking dozens if not hundreds of photos of scans of documents on my phone. I find that some of my best research opportunities have come from serendipitous encounters, places that weren’t on my planned itinerary. I am hopeful that maybe I’ll have some of that in Paris. I’d say the odds might be in my favor—it seems like there is always something unexpected when it comes to learning more about Beauford Delaney.

WIF:  How do you account for changes in geography over time as you conduct research?

K. Stack:  I think all changes, whether geographic or spatial or not, require us to be flexible in where we look for information and how we then interpret it. This question connects well to a lot of the big questions I’ve been challenged with in my research: what do we do when places that are important to us, communities we work with, or to history generally are no longer there in their material form? I think those changes and, at times, absences in place can speak loudly in our understanding of space and place.

WIF:  Will you travel to other places in France to follow in Beauford's footsteps - places like Solliès-Toucas and Saint-Paul-de-Vence?  Do you plan to go to Boston and NYC to explore Beauford's "places" as you have done in Paris?

K. Stack:  We focused on Paris last summer, but certainly other places Beauford traveled and stayed are influential in considering how he saw and understood the world. I see myself moving forward with research on Delaney with even more dedication once I finish my dissertation, which I hope will involve some more of that travel to bring everything together. I believe there is an upcoming meeting of the American Association of Geographers in New York City, and “Delaney places” will be on my list while I am there.

WIF:  What will you do with the information you gather on these explorations?

K. Stack:  In addition to the February 2025 GeoSym conference and the Autumn 2025 exhibit highlighting the Beauford Delaney papers at Hodges Library at the University of Tennessee, I hope to produce at least one or two academic publications related to this research. I have a running list of ideas that this work has inspired.

I am also very passionate about making my work accessible to the public. So, I have thought about possibly publishing an article on a platform like the Conversation or making educational material that teachers can use in their classrooms. The more I study the collection and learn about Delaney, the more ideas I have — so who knows what can come of this!

Aaradhya Sunder, an 11-year-old Indian artist based in Singapore, is set to make history as one of the youngest participant in the 340-year legacy of the Art Capital Paris 2025.  Her inclusion in the historic Salon des Artistes Français—a platform that has celebrated legends like Auguste Rodin, Édouard Manet, and Camille Claudel—is a groundbreaking milestone for global art and a testament to the boundless potential of young talent.

At the heart of Aaradhya's Paris debut is her sustainability-inspired masterpiece, The Eye of Nature. This surrealist work reflects humanity’s fragile relationship with the environment, blending vivid imagery with a poignant message of awareness and resilience.

"My art tells stories that connect us all. I hope my work inspires others to embrace diversity and sustainability," Aaradhya shares, encapsulating the spirit of her artistry.

A Story of Mentorship, Heritage, and Global Promise

Aaradhya’s journey is one of courage, resilience, and visionary support. Born in Delhi, she began her artistic exploration by painting the walls of her home before she turned 2—an early sign of her bold creativity that her family encouraged.

Her great-grandfather, a confidant of Mahatma Gandhi, relinquished vast estates spanning thousands of hectares during India’s independence movement, donating generously to schools and the underprivileged. This legacy of courage and service profoundly shapes Aaradhya’s artistic vision, infusing her work with purpose and cultural depth.

Guided by dedicated mentors such as Ms. Dipti Karki in Delhi, Aaradhya began honing her technical skills and thematic exploration early on. “Aaradhya’s connection with art and the process of creating has been exceptional,” shares Ms. Karki.

In Singapore, institutions like Little Artists Art Studio and the prestigious Nanyang Academy of Fine Arts (NAFA) have further refined her craft, helping her excel on the global stage. During the pandemic, she also worked with trainers from MoMA (Museum of Modern Art), adding depth and precision to her techniques.  Her achievements have earned her global recognition.

Shading Practice—Pencil Sketch—March 2023

On her first birthday, Aaradhya received blessings from 25 Nobel laureates, the Pope, Queen Elizabeth II, Bill and Hillary Clinton, and India’s President A.P.J. Abdul Kalam, among others. This extraordinary encouragement reflects the promise she holds as a future leader in the arts.

A Polymath in the Making

Aaradhya’s talents extend far beyond art. Fluent in English, Hindi, German, and Mandarin, she bridges cultures with ease. Her curiosity spans coding languages like Python and Scratch, while her athletic achievements include representing her school in basketball, swimming, badminton, and track and field. Aaradhya’s holistic approach to life—balancing creativity, intellect, and physical pursuits—positions her as a role model for young girls worldwide, particularly women of color.

Sustainability and Cultural Impact

Introduced to sustainability during primary school, Aaradhya translated these teachings into her Paris-bound piece, The Eye of Nature. This painting serves as both a cultural artifact and a call to action, urging viewers to reflect on humanity’s responsibility toward the environment.

Birds in a Polluted World—Watercolor—October 2023

Aaradhya's work has already received international acclaim and institutional support. Singapore Airlines subsidized her travel to Paris, showcasing their belief in her potential. Local leaders, including Singapore’s Hon’ble President Tharman, Former Prime Minister Lee, and Minister for Law and Home Affairs K. Shanmugam, have also encouraged her journey, underscoring her significance as an emerging global talent.

Global Recognition and Investment-Worthy Art

Aaradhya’s art represents more than creative brilliance—it is an investment in the future of cultural storytelling. Her ability to blend storytelling, technical skill, and emotional resonance makes her work both a cultural treasure and a sound investment.

"Aaradhya is highly imaginative and a polyglot. She can channel her creativity into any field she chooses—not just art," says Dr. Ashfaq Ishaq, Founder of the International Child Art Foundation (ICAF).

As she prepares to step onto one of the world’s most prestigious art stages, Aaradhya invites collectors and curators to join her journey, offering them the rare chance to acquire works that embody artistic excellence and global relevance.

See additional examples of Aaradhya's work below.

Whimsical Teapot Tales—Watercolor—May 2023

Purple Plums—Watercolor—April 2023

Cobblestone Memories—Pencil Sketch—August 2024

Graceful Curve of Nature—Acrylic on canvas—March 2024

Dapper Bunny—Acrylic on canvas—March 2023

Follow Aaradhya’s Journey

Aaradhya’s story is a beacon of creativity, sustainability, and cultural heritage, inspiring audiences across generations and geographies. Join us in celebrating this prodigious talent who is reshaping the future of art.

Discover Aaradhya’s art and learn more about her historic Paris debut by clicking HERE.

Featured image: Shirley Monestier at l'Atelier 65 -- Bordeaux, France
© Jean-Marie Monestier

As we wound down the COVID-19 PAGES exhibition in September 2021, we contacted our professional artists to ask about the impact the show had for them.

In reply, Shirley Monestier sent me the following message via email:

“As a result of my artwork inclusion in the Covid-19 Pages exposition, I have received more than 100 positive reactions to a congratulations!!

"The exposure was significant and put me on the map as a Black Female Artist in France.  Since the Phase 1 Covid-19 Pages expo, I have had numerous request for podcasts and interviews.  Thank you so much for the opportunity to shine a light on me and my art!”

Because of her exposure in our show, Monestier has mounted her first solo exhibition.  It is being held in Bordeaux, France, the city she now calls home.

Monestier came to art late in life.  She was inspired to learn to paint when she and her husband, Jean-Marie moved into a new home in the Paris suburb of Taverny in the early 1990s.  She begin visiting galleries and artist studios in Paris with the intent to purchase works to decorate their home, but found that the price tags for the pieces she wanted to purchase exceeded the couple's budget.

That prompted her to take art lessons so she could create her own paintings.

For two years, she took classes at the Municipal Centre d’Arts and Plastiques in Taverny (no longer in existence).

And she's been painting and showing her work ever since!

Shirley Monestier with The Masks We Wear, her COVID-19 PAGES artwork
Image courtesy of the artist

Monestier's one-woman show is called Multicultural Women in Vibrant Colors.  It is on display at L'Atelier 65, a Bordeaux café/gallery located in an up and coming trendy area of the city called Chartrons. The gallery hosts a different artist each month, and when the owner reviewed Monestier's portfolio, she immediately offered to organize the exhibition.

I asked Monestier why she created this show.

She replied,

"During the pandemic and confinement, I started painting a series of women. I wanted to complete a series of artworks because I knew opportunities would come my way after Covid-19 confinement was over. I just put it out in the universe and knew that an opportunity to showcase my artworks would come.

"I always wanted a solo exhibition...it was on my bucket list. We must always ask for what we want."

The vernissage (opening) for Multicultural Women in Vibrant Colors was held on December 1, 2022.  Monestier considered it a success because:

"I spoke with each of attendees who asked questions ... the engagement was wonderful, so personal. The atmosphere at the event was warm and fuzzy-friendly. What was amazing is that all those attending stayed for the entire 2 hours - they did not want to leave! I had one sale and the possibility of more."

Vernissage attendees
© Jean-Marie Monestier

Shirley Monestier (seated) and vernissage attendees
© Jean-Marie Monestier

Prior to Multicultural Women, Monestier had shown her work locally in France (Taverny and Paris) as well as in international exhibitions in the U.S. (Washington, D.C.) and Mexico (Puerto Vallarta). Shows include the month-long Fight Cancer fundraising exhibition at the Mona Bismarck American Center in Paris in 2007, Cherie Sibley Artists’ Exposition, Artist Without Borders, and Viva Mexico in Puerto Vallarta (2010, 2014, and 2015, respectively), and Viet Nam Orchids in Washington. D.C. in 2016.

Monestier has the following advice for professional women artists who want to establish themselves in France:

"Join art associations -- you will receive information, encouragement, critiques, art exhibit exposure and a support group. Continue to promote yourself, have business cards, and always make art your first love!"

Once Multicultural Women in Vibrant Colors closes, Monestier plans to open a private home art gallery, where her works will be viewed by appointment only.

Her target date for opening is May 6, 2023.

To contact Shirley Monestier about her art, send email to shirley.monestier@neuf.fr.

Featured image: Three landscapes by Sherita J. Herring
Image courtesy of the artist

Art has the ability to heal, particularly during times of crisis.

In preparation for the COVID-19 PAGES virtual exhibition that we organized in collaboration with the Anderson Brickler Gallery, and Thinking CAP Collaborative Art Projects in 2021, we provided an online opportunity to talk about healing through the creative process. We hosted "Creation as Medicine during Challenging Times" on November 11, 2020.

We followed this with a four-day online event in July 2021. During COVID-19 PAGES: Art & Conversation, we spent an entire day discussing the topic of "Creation as medicine – Art in all forms as self-care."

Recently, Sherita J. Herring - nonprofit consultant and founder of Philanthropy Alliance Foundation - shared her "Creation as Medicine" story with us.

Sherita J. Herring

Herring is nothing if not a consummate professional. She orchestrated WIF's seamless founding in 2015 and has worked with us consistently over the past two years - first as a consultant and then as a collaborative partner in the Youth Veterinarian Initiative and the Breakthrough to Success Online Fellowship.

Over the past several months, a number of personal and professional challenges have eroded Herring's wellbeing.  Recurrent Internet access issues in her rural Arkansas community adversely affected her remote consulting business (she moved to Arkansas from Los Angeles in 2018).

In addition, pandemic-related client disparities, long distance care giving, and singlehandedly maintaining her ~30-acre property essentially drained the energy she needed to devote to consulting, preparing a camp ground on the property, and caring for her "barnyard crew" of chickens, ducks, guinea fowl, dogs, and cats.

Barnyard crew

Then came a recent double-whammy - an acute health care crisis for her out-of-state relative followed her personal, prolonged case of Covid.

The strain of everything combined led Herring to step back from all her activities and re-evaluate her life.  In addition to interacting with her animals, creating art helped her to heal. She has painted four landscapes since she contracted the virus, and she has sold all of them.  She last painted the historic old barn on her property (built by her great grandfather nearly 100 years ago).

Painting of historic barn

Herring shared this story to let people know that there is a always positive side to a negative situation, even in catching Covid-19.  The downtime that the virus forced upon her allowed her be still and unleash her creativity again:

"I stopped letting life and work get in the way and I started painting.  And I'm telling you, I first did three paintings over three days...

"I became interested in painting since I've been in Arkansas. I've always been an artist, but I've mainly dabbled in charcoal or pencil.  I painted in high school, and I haven't picked up a brush since...

"For me, this experience proves that art helps with your mental stability!"

Sherita J. Herring - from Beverly Hills to Barnyard

After living nearly 30 years in Los Angeles and maintaining an office in Beverly Hills, Herring is now writing a memoir about her transition from California to country entitled From Beverly Hills to Barnyard.

To contact her, whether about her consulting or her painting, click HERE.