Creatively Blog

At the intersection of music and the metaverse lies photographer Inari Briana Washington.

Based out of Atlanta, Georgia, the commercial and editorial photographer launched her freelance journey as a freshman at Georgia State University. Nine years later, Washington has carved herself a corner in Atlanta’s music scene, whether taking portraits of R&B singers like Khalid or being the key photographer on set for a Cadillac commercial featuring rapper and activist Killer Mike.

But Washington’s commercial work expands far beyond Atlanta—or even this universe. This past summer, Washington partnered with Meta as the key photographer on the set of the online series “Are We There Yet?” starring Nope actress Keke Palmer. Other notable photo campaigns include Savage X Fenty’s Breast Cancer Awareness Collection and popular underwear brand Ethika’s collaboration with rapper OMB Peezy.

You can check out more of Washington’s work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

The first creative project I remember is a collaboration I did with a couple of friends back in 2014/2015. I had them dressed in all white, posing effortlessly at this creek that a lot of people swim at. Their hair was massive—large afros and beautiful crochet styles. The project went viral on Tumblr and Pinterest (and still does numbers to this day)! It was two black girls, and it was probably the first time I got to hone in on my creativity the way I wanted to. Most people don’t even know it was my photo set.

Describe your aesthetic in three words.

Colorful, classic, and warm. Honorable mention: cinematic.

What was the most fulfilling collaboration you’ve worked on?

The most fulfilling collaboration I’ve had thus far would have to be working with Meta on the new show “Are We There Yet?” starring Keke Palmer. I shot the promotional and cover photos for the project. It was an eye-opening experience because it helped me solidify the type of photography I wanted to pursue. I enjoy any moment to tell a story. I like that when people see the covers of these shows, they gain a core memory from them, and I can be proud to say I helped with that.

What’s one creative project that taught you something fundamental about yourself?

When I went to LA in March of 2021, the scope of last-minute projects we achieved in just one week taught me the most. From the flight to the location where we lodged and even cancellations on paid projects, it taught me that I work very well under pressure. With the right team, anything is and can be possible. We were able to revamp our portfolios from the ground up by working with notable people. Ever since that week, everyone on the team has been accomplishing major opportunities, myself included.

Do you think creativity is something you’re born with or something you’re taught?

I feel as though you are born with creativity to an extent. However, opening your mind to exploring new things does not stop you from becoming an innovative spirit. Creativity comes in all different forms and can come from many different avenues.

What’s the last dream you had?

I can’t remember the last dream I had. I am usually so good at documenting my dreams and interpreting them to get a better understanding of what I may be dealing with in my life. This time, however, I’m at a blank. I haven’t dreamed in a while.

One hundred years from now, what do you hope people write about your work?

That is a very good question. When people talk about my work a hundred years from now, I want them to remember it like they remember their favorite television show. I want it to feel like a core memory. I want people to identify and resonate with it, whether it’s in a magazine or even in a museum. Who knows? The possibilities are endless.

Follow @inaribriana on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.

Asmiet “AZ” Nega‘s job description? “I make great things happen.”

As a program director and creative producer based in Chicago, Nega amplifies the visions of both global brands and small businesses alike through her unique approach to campaign conceptualization, production, direction, photo shoots, and even styling.

For five years, Nega was an integral part of the renowned store and creative hub Fat Tiger Works, as the project and e-commerce manager. With several successful projects and collaborations under her belt, she carved out a space for herself to exist beyond the brick-and-mortar shop, upon its closure in 2022. Nega continues to work closely with Fat Tiger founders Joe Freshgoods and contemporary artist RELLO to bring their independent projects to fruition in Chicago and worldwide.

Nega’s passion for helping others bring their ideas to life has propelled her into diverse creative work across various industries. Some of her recent notable contributions have been to projects such as Joe Freshgoods x New Balance’s “Conversations Amongst Us” and “Performance Art” campaigns, the opening of Cherry Mountain Arts, and the success of social impact projects like EAT THE RICH.

You can check out more of Nega’s work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

The first creative project I remember working on was a school project I did with my dad in elementary school. My dad is very competitive, and he passed that competitiveness down to me, so we always wanted my project to be the best in the class. Every time we had the chance to create, we went above and beyond to craft these masterpieces. That project was very simple; we had to create a moment from a book we were reading and bring it to life. I forget the book title, but we went all out and thought of creative ways to bring this scene to life. We went to Home Depot and got all these tools and sand to create an area that we could put real water in to make it look like a beach. We also built a mini house out of wood. My dad wasn’t one of those parents that would do all the work for you. His biggest thing was, “I will teach you so you know how to do it yourself one day.” So many things that he taught me have helped me get to where I am now.

Describe your aesthetic in three words.

I can give you 2 words. A clusterf*ck! I hate putting myself in a box. I always like to spice things up. So, depending on how I’m feeling, I give different vibes.

What was the most fulfilling collaboration you’ve worked on?

That’s hard because all of the collaborations I work on are very fulfilling. I work with a small team, so we sometimes wear different hats. I am always learning how to do new things or how to do things better. With each project, we strive to come up with innovative ideas and ways to impact history, so I am consistently stepping into new territory—from set design, styling, directing, script writing, curating, and even building computers. Each project introduces a new element and experience to my life, and that alone keeps me fulfilled.

What’s one creative project that taught you something fundamental about yourself?

Teaming up with the Fat Tiger team is the creative project that really taught me that there are no limits to what I am capable of doing and that teamwork really gets shit done. Most importantly, I was put on this earth to help others. In a world where being a boss and doing everything on your own is glamorized, there aren’t a lot of people who really highlight the major role their team plays. I was blessed to work with a group of people who aren’t afraid to share the spotlight, give flowers to their team, and show the important roles they play—especially when it comes to highlighting black women and women of color in a field where we are usually overshadowed. Shout out to all the amazing women that I am honored to work with and learn from. I am a true believer that we are put on this earth to help others, and that being kind goes a long way. That thinking has opened many doors for me. My hard work has allowed me to exist in a lot of different rooms, meet a lot of different people and experience a lot of dope shit.

Do you think creativity is something you’re born with, or something you’re taught?

Both. I think creativity is definitely something you are born with, but through time you can either lose it or build on it. I believe that there are things you can learn or do that can help you sharpen your creativity. I think like anything, if you keep working on it, it gets better, and if you don’t you lose the ability to perform at a high level. I’ve learned so much from the people I work with. They help me keep my creativity flowing, and I think that is super important. I think you should keep people around you in the creative field that are older and younger than you so you can learn from each other. I also think traveling the world and putting yourself out there to experience new things is a big way to feed your creativity.

What’s the last dream you had?

The last dream I had was dabbling in the fragrance world. I’ve always been intrigued, but I’ve never had the time to take a deep dive into it. In the dream, I took some time away from working with others and focused on learning more about the fragrance industry. I had created my own line to sell everything from candles to unisex perfume and home fragrances. I even remember the concept I came up with in the dream. I can totally see myself getting into it in the next few years, but we shall see what the world has in store for me.

One hundred years from now, what do you hope people write about your work?

I hope my work inspires people, especially the youth, to work hard, fight for their dreams, and to be kinder to one another. I hope they use my life and work as a blueprint so people interested in taking this path can be better versions of me, learning from my mistakes and building on my strengths.

Follow @aznega on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.

From Miles Morales: Spider-Man to Moon Knight, illustrator Ron Ackins has had his hand in a few fan-favorite Marvel comics. The freelance illustrator and graphic designer has been active since 2005, operating out of Philadelphia, PA. After studying graphic design, Ackins carved out a clientele niche of streetwear/lifestyle brands, with commissioned work for Nike, The Brooklyn Circus, Salem Sportswear, and Undrcrwn, as well as multimedia companies like Sony & Roc Nation. Throughout his 17-year career, he has created everything ranging from caricatures and typography to album art, book covers, and character designs.

With his attention to detail, Ackins broke into the ever-competitive comics industry in 2013 with a short story featuring his own character, Lancaster Bleu. By 2014, Ackins penciled his first full issue of Marvel Comics’ Uncanny X-Men Special #1. Since then, he has illustrated for Moon Knight, Miles Morales: Spider-Man, Prophet, and its finale, Prophet Earth War. He has penciled for more comic imprints, including Image Comics and various independent publishers.

You can check out more of Ackins’ work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

When I was nine years old, I planned an art sale. All week I drew on the back of old homework. On that Saturday, I set up a table in front of our garage for about three or four hours.

Describe your aesthetic in three words.

Meticulous, sublime, Black.

What was the most fulfilling collaboration you’ve worked on?

In 2008, musical artist and style god Taz Arnold commissioned artwork for a music project he was working on. He gave me what he was looking for conceptually, but he just let me do my thing. My clients around that time were mainly interested in my skill, but Taz was the first client to commission my art.

What’s one creative project that taught you something fundamental about yourself?

I’ve been illustrating and designing an NFT for the past year with a colleague. I’ve always been aware of how nuanced my artwork can be, but this year-long course has really cemented how intricate my approach is.

Do you think creativity is something you’re born with or something you’re taught?

I think we are all born creative. I just don’t think creativity is nurtured in most kids after a certain age. I think some of us are born with a creative curiosity that drives repetition and experimentation. You get good [at creativity] if you spend a lot of time experimenting.

What’s the last dream you had?

I don’t remember my dreams that often anymore. But, years ago I used to have recurring dreams where I was always being chased by multiple Terminators. I could be on a date or at home in my dream, and these jokers would just hop out and chase me.

One hundred years from now, what do you hope people write about your work?

I hope they note that I tried to inspire and represent my people well through the stories and visuals I created.

Follow @ron.ackins on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.

This Native American Heritage Day, we’re spotlighting 4KINSHIP, an Indigenous-owned sustainable artwear brand, boutique, community, and creative agency founded by Amy Denet Deal. The Diné (Navajo) designer created the brand as a way of honoring her ancestral lands of New Mexico. Founded in 2015, 4KINSHIP was the product of Denet Deal’s nearly four decades of experience in the fashion industry and a personal journey into reconnecting with her Indigenous roots. Within 4KINSHIP’s brick-and-mortar storefront in Santa Fe’s Canyon Road, the space hosts Denet Deal’s upcycled garments, vintage clothing, and curated goods from over 10 Indigenous artisans and designers.

But 4KINSHIP goes beyond business: Denet Deal weaves in community support in any way she can. In 2019, Denet Deal moved to New Mexico to reintegrate with her tribe right before the pandemic struck, and spent 2020 providing mutual aid relief for relatives on Navajo Nation. 4KINSHIP’s most recent fundraising effort is for Diné Skate Garden Project, a skatepark built for Diné youth within the remote Two Grey Hills community on Navajo Nation. Sponsored by DC Shoes, Vans, and The Skatepark Project (formerly the Tony Hawk Foundation), the Diné Skate Garden Project reached its fundraising goal in partnership with singer/songwriter Jewel and the Inspiring Children Foundation. 4KINSHIP previously collaborated with Jewel, a long-time supporter of the brand, on limited edition hand-dyed sweatsuits for her brand, Songlines by Jewel.

Whether it is by stocking Native history books within the store, hosting live events, or designing eclectic fashion, 4KINSHIP is a transformative hub to explore Indigenous history and celebrate Native culture.

You can check out more of 4KINSHIP’s work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

Creating a custom wardrobe for my dolls when I was little, made from flowers.

Describe your aesthetic in three words.

JOYFUL. ECLECTIC. UTILITARIAN.

What was the most fulfilling collaboration you’ve worked on?

Working with my daughter Lily. We started this brand together when she was a teenager, and she will always be the heart behind the brand. I wanted to create a business model that not only honored her future on this planet but reconnected us to our indigeneity.

What’s one creative project that taught you something fundamental about yourself?

Diné Skate Garden Project. I started this project to provide Navajo youth with health and wellness tools by helping the community build a skate park. But as the project progressed, I realized it was also a way for me to heal and honor my birth mom and come to terms with the trauma she and many relatives experienced in boarding school.

Do you think creativity is something you’re born with, or something you’re taught?

Creativity is in each of us in unique ways. We all start off with joyful play as children, which often fades. It takes focus to keep this joyfulness in our days by doing what you are truly passionate about. I can’t wait to wake up every day to create.

What’s the last dream you had?

In the last dream I had, I was a shepherd with sheep that could fly.

One hundred years from now, what do you hope people write about your work?

That our company was not just built on sustainable processes in fashion but was also a platform to create sustainable solutions for future generations.

Follow @4KINSHIP on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.

The next time you enter a bookstore, multidisciplinary artist Rachelle Baker is hoping that you judge a book by its cover.

From Detroit, MI, Baker’s multidisciplinary skills range from relief printing (screenprinting, linoleum, and woodcutting) to illustration, comic art, video art, and music. Her creative inspirations are derived from women in turn-of-the-21st-century R&B music videos, the sound of yawning cats, and Shoujo manga.

While Baker has been drawing for over 27 years, the Capricorn (with a Scorpio moon) is no stranger to experimenting with new creative ventures. In the past four years, Baker has excelled in one of her latest niches: book cover illustration. Her artistry adorns fiction and nonfiction covers including “Making Our Way Home: The Great Migration and the Black American Dream” by Blair Imani from Ten Speed Press, “Shirley Chisholm is a Verb” by Veronica Chambers from Dial Books/Penguin Random House, and “Stamped (for Kids): Racism, Antiracism, and You” by Ibram X Kendi and Jason Reynolds from Little, Brown Young Readers.

Other creative collaborations have included publications and media houses like The New York Times, National Geographic, Variety Magazine, Complex Magazine, MTV, and Playboy. Yet Baker doesn’t exclusively work within the media world; notable clients include NAACP Legal Defense Fund and Ulta Beauty.

You can check out more of Baker’s work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

I drew a “Frog and Toad Together” comic in my second-grade class for a project. It was the first time I remember being fully invested and consumed by my creativity as a child.

Describe your aesthetic in three words.

Dreamy. Musical. Hopeful.

What was the most fulfilling collaboration you’ve worked on?

Working on “Shirley Chisholm Is a Verb” with Veronica Chambers was amazing. It was my first job working on a children’s book, so I went wild with colors and a different art style. I illustrated the life and story of such an incredible icon. I also drew my niece into one of the illustrations, so it was fun seeing her face when she opened the book for the first time and recognized herself.

What’s one creative project that taught you something fundamental about yourself?

All of my creative projects teach me to value my time and talent more. The more fun and freedom I can have, the more I love the finished product.

Do you think creativity is something you’re born with, or something you’re taught?

I think that everyone is born with creativity, but it is something that can be stunted and lost. Teaching creativity can be hard, but fostering and nurturing it within yourself and others is the best thing you can do!

What’s the last dream you had?

I’ve been having a lot of bad dreams/nightmares lately, but the last good dream I had was a recurring one where I’m riding through the woods on the back of a giant black cat at dawn.

One hundred years from now, what do you hope people write about your work?

I just hope that people can see the beauty that I see in them translated into my work and that it inspired them to make something beautiful of their own.

Follow @rachellebaker on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.

Sebastien Courty is reinventing how the art world views textile art. Fascinated by the diversity of craftsmanship that textiles offer, Courty’s work is a decorative art approach. The play of texture, material, and color allows him to reimagine textiles by using traditional crafts such as weaving, embroidery, or batik.

Beginning his practice with silks, he now works with more prestigious and unexpected elements such as banana fiber, tobacco leaf, gemstones, and 24K gold threads. More recently, Courty has adopted a thread-drawing technique, laying precious threads next to one another to create 2D visuals, as seen in his “United Women” series.

Originally from France, Courty now works from his Brooklyn-based textile art studio. His work has been exhibited worldwide, including “White Print” in Paris, “Non Washable” and “Angles in Cubism” in New York, “Unknown Empire” in Beijing and the internationally-acclaimed “Totem – A Wall’s Jewelry” in Dubai, France, and New York. Earlier this year, Courty received a CODA Award for his work “Saudi Unity,” a series of twelve totems for the US Consulate in Dhahran.

You can check out more of Courty’s work here on Creatively and @hellocreatively on Instagram.

What is the first creative project you remember?

The first creative project that I worked on was right after I finished art school in Paris. I was about 20 years old and organized my first “Textile Art” exhibition. Back then, I was obsessed with silk. I remember using iron and copper sheets to rust and deteriorate the fabric, burning the edges, and using concrete or plaster to shape it a certain way. I even used melted wax on painted silk to create new textures. It was messy and experimental; I loved it! Now, I work with more prestigious and unexpected elements such as banana fiber, tobacco leaf, or 24-karat gold threads. But my first desire in any of my creations is always to combine precious, elegant, and refined components with something rough, dirty, and unrefined.

Describe your aesthetic in three words.

Delicate, conversational, and multicultural.

What was the most fulfilling collaboration you’ve worked on?

A collaboration that was truly fulfilling was the “Gold Shirt” tribute to Nelson Mandela. Inspired by one of many batik silk shirts Mandela used to wear, I designed a shirt entirely handmade with 24-karat gold threads. From the handwoven fabric to the hand-embroidered patterns, the shirt became a mesmerizing sculpture. Honoring Nelson Mandela’s legacy and wisdom, the gold represented his tenacity, his energy, and his rarity—everything this man was to all of humanity. In collaboration with Johnathan Schultz and the Nelson Mandela Foundation in South Africa, this shirt was in production for nearly a year.

What’s one creative project that taught you something fundamental about yourself?

The beauty of being an artist is that every single project teaches me something new and enables me to discover an aspect of myself I didn’t know I had. The most important thing I had to learn is that whatever project or new work of art I am working on, I shouldn’t stop or give up until it is accomplished. No matter how many doubts arise during the creative process, I need to see things through and complete the work. Only then will I have a full understanding of the work and what to do next. The series of portraits created using the thread-drawing technique is, by far, the most challenging collection of them all. This technique consists in laying precious threads next to one another to create a 2D visual. Drawing with a thread is a technique I developed recently and as easy as it may sound, it was months of dilemmas. My creations are meticulous and require much patience which is sometimes disheartening. I found out that my curiosity was stronger than my patience. The excitement that drives me to see a new artwork for the first time pushes me to finish the job and keep the productivity going.

Do you think creativity is something you’re born with, or something you’re taught?

I was definitely born with it. I have been really creative since I can remember and I am sure my mom could share a couple of fun stories. That being said creativity is one thing, mastering one’s art is another. Practice and hard work are essential to living off your creativity. I practiced, failed, practiced again, and failed again until learning from my mistake became a pleasant part of the creation process, and an essential path to success.

What’s the last dream you had?

I find it very difficult to recall my dreams. The last one I remember quite clearly was about travel. I think I had the power to teleport myself or some sort, and in the blink of an eye, I could be in any location of my choosing. I believe it started in Singapore; I was discussing with a friend about the logistics for an upcoming exhibition. I, later, seemed to be in Dubai where I was working on a large art installation for a lobby of an office building. I, then, went to Japan to purchase a large quantity of 24 karat gold and silver threads to finally ended up in Central Park eating a hotdog… go figure!

One hundred years from now, what do you hope people write about your work?

When I decided to specialize my practice in textile and fiber I wanted to challenge people’s minds. Textiles transcend the dimensions in which design encounters art in a prospective muse. My vision of textile art moves fabric-based works beyond the category of woven tapestry into a more conceptual practice that embraces strategies otherwise found in painting, sculpture, and architecture. Not limited to fibers, my work encompasses any materials that allow thread-drawing or hand-weaving methods inter alia to invent contemporary textile art.

One hundred years from now I hope people will look at my work and realize that textile has indeed its place in front of the art scene, in art galleries and art collections. More than critics from the art world and art lovers, I hope to inspire new textile and fiber artists around the world. I hope to convey a certain confidence and proof that working with textiles and fiber is recognized and appreciated as much as any other art form.

From a different point of view related to the subject of my work, I want my creations to bring a voice to communities that need to be heard and cultures that deserve to be celebrated. I want questions to be asked and answered. I want my work to open conversation and debates, but most importantly I want my work to emphasize a feeling of mutual respect and personal expression. My work is an invitation to travel and discover parts of the world one has yet to explore.

Follow @sebastiencourty on Creatively.

Creatively is more than a platform—we’re a creative collective.

Questions or feedback? Email us at feedback@creatively.life.