SEATTLE ARTISTS TAKE LA NEGRA TO MEXICO CITY
- Vivian Phillips
- Apr 23
- 8 min read
Updated: Apr 24
In February of this year, Seattle-based visual artists Soulma Ayers and Perri Rhoden co-curated and participated in the art exhibit La Negra in Mexico City, Mexico. This would be their second time taking their talents to the arts-rich area, with plans to return in 2026.
ARTE NOIR invited Soulma and Perri to share their thoughts about curating for and exhibiting in a place where language and cultural barriers exist, but where there are also open arms and a mutual love for the art. So they decided to interview each other, taking time to share some reflections, a la Interview Magazine style. Enjoy!
PERRI: First question, what drives you to Mexico City? And why did you want to curate a show in Mexico City?
SOULMA: I was actually involved in a group show the year prior. I was really excited to come to a city that has so much future and history of art in one place. The energy is electric and peaceful at the same time. For this show, I wanted to harness the feelings that Mexico City inspired, and curating gave me the opportunity to do so.
PERRI: What is it about Mexico City? Why do you love Mexico City?
SOULMA: Mexico City offers me artistic peace and inspiration. There’s vibrant art at every turn and an appreciation for nature. Mexico City was conducive to creating.
PERRI: I agree.
SOULMA: Perri, with this being your second show in Mexico City, what expectations did you have of how your art would be received this time around?
PERRI: Last year was such a success. There was so much love in the room. So much wonderful energy, and I went into this year riding that same wave. Last year, during the show, I spoke with a lot of people, and it was great to hear how much they connected with my art. People love the colors, the energy, and the abstractions in my work. This year, I felt empowered to show up authentically and confidently with whatever I wanted to exhibit. So, I brought a diptych and a work-in-progress mixed-media canvas.
SOULMA: You talked about how your work was received. How did you connect with the artistic community in Mexico?
PERRI: I really wanted to check out my favorite spots, reconnect with friends I made last year, and meet new people. I had a full itinerary of people, pop-up events, galleries, and restaurants that I wanted to visit. I also wanted to leave as much space as I could to wander and discover. I wound up checking out this amazing artist and his studio, Paco Maciaso, who was recommended to me by Rodney Hines from Metier Brewery. I was able to attend Paco’s artist collective/group show on a beautiful rooftop in Roma Norte. I spent eight glorious days connecting with folks seeking sources of inspiration and just wandering.
PERRI: So, how was it for you?
SOULMA: I think for me it was really interesting. I'm an all-Black-everything kind of person, right? I focused a lot on networking with Black expats. I went to a lot of events, spending time figuring out why people move to Mexico, what is drawing them to Mexico City, and really understanding things from that expat perspective.
PERRI: I would love to know, as the lead curator and co-presenting artist for this show, you were responsible for a lot of the logistics and partnerships. How did you mentally and physically prepare for this year’s show?
SOULMA: This year, I was very much in a ‘let it go and let God’ mode, realizing that you can't control everything when you're not on site every day. We had logistical conversations with folks on the ground early about every possibility about what we would need to hang our work in various circumstances, etc. We had everything we needed before we left, making it really reassuring in terms of anything that could happen. We felt really well prepared. We also had to take into account the cultural and conversational differences.
PERRI: Thinking about the US and Mexico, I would love to know what similarities you’ve observed between showing visual art in a gallery space in the States versus doing the same in Mexico City.
SOULMA: I think the similarities are that appreciation and interpretation are global. There will always be someone who tells you something about your art in a way that you didn't see it. And that's a beautiful experience. I think the love of art in Mexico is very similar to how people express their love in Seattle. Having someone enjoy your work, regardless of language barriers, cultural barriers, or economic barriers—it's such a beautiful feeling. Having that in Mexico City specifically, where art is so revered, is an unexplainable feeling.
SOULMA: What do you feel the differences were?
PERRI: A lot of the art I viewed was experimental, unconventional, and breathtaking. There was a ton of unconventional textiles, upcycled materials, and the scale of the artworks was impressive. A lot of art was tied to environmental justice, and then just cool and weird, and not in a pretentious way. I saw an eight-foot scorpion dentist chair. And then a large-scale mixed-media canvas made with dozens of sheer pantyhose woven into this contemporary design. It’s refreshing, imaginative, and cool! At first, I was trying to figure out what the artwork meant/why did the artist create these? And then I stopped and just let it be. That is what inspires me and what I want for the next phase of my practice.
SOULMA: Alright, you stated how you wanted to just do art for the sake of doing art. How has this experience shaped your future artistic practices?
PERRI: I feel more empowered and excited to show my creative process. I feel more inspired to think of my preliminary sketches and “rough drafts” as finished pieces and not to discard them. Somehow, in the last couple of years, I started to judge myself and my work too critically to the point where I discarded artwork if I didn’t think someone would want to buy it. I’ve been on a journey of decolonizing my mind from what I think abstract art needed to look like, and now I'm getting back to making the art that feels good for me. Mexico City has reminded me that art will find the right home or audience it needs.
SOULMA: It sounds like it feels empowering.
PERRI: It does feel empowering. I've also realized the importance of plants. Nature is a primary source of inspiration in my work. In Mexico City, plants are literally dripping everywhere you go-indoor, outdoor, rooftops, street corners, the plants are just everywhere! I have about 50 plants in my apartment, and at this point, I need my art to be exhibited next to plants because plants are around and they're in my environment so much that I can't separate the two. In 2026, I have a solo show happening at Slip Gallery in Belltown. That exhibition will have large expressionist paintings, plants, and mixed-media work woven together.
SOULMA: OK, so we're talking about your solo show. I love that you talked about that before talking about our 3rd show. What do you want to see for your third time in Mexico City?
PERRI: For our third exhibition, I'm manifesting that it's going to be in an indoor/outdoor space with a lot of natural light and juicy, luscious plants dripping everywhere. I think it would be great to collaborate with another artist from Mexico as well. We could collaborate on a piece and then showcase our own separate artworks.
PERRI: What about you?
SOULMA: I would love to bring more Black artists of different talents this time. I think my major thing is the idea of collaborations and really kind of leaning into my curatorial practice. It's a beautiful thing to show my artwork, and I'll never stop doing that. But I also really love helping other people show their work and creating safe spaces for artists to really just do art.
PERRI: OK, any final thoughts?
SOULMA: I think it’s important to follow through with ideas and dreams. As creatives, we encourage other people to think outside the box, and we need to do the same. Art can take you anywhere you want to go.
PERRI: My final thought is: if you are traveling to another country, specifically Mexico, as an American citizen, be mindful, try to learn the language. Be aware of your privilege as an American citizen. And of all things, I lead with curiosity and respect. Bring good energy, good vibes, respect, and curiosity. You'll get good energy returned tenfold.
SOULMA: Yeah, I completely agree with that. Well, yeah, and buy our art!
ABOUT THE ARTISTS
SOULMA AYERS is a multidisciplinary artist and cultural curator whose work bridges contemporary art, hip-hop culture, and global influences. Born in Seattle’s historic Capitol Hill and shaped by the creative energy of New York City and Washington, D.C., Soulma infuses her art with a deep reverence for Black heritage, community, and storytelling. A featured artist at events like Wa Na Wari’s Walk the Block and Legendary Children at Seattle Sculpture Park, her work spans solo installations (Beloved Campaign), collaborative projects (Love Letters to San Pancho in Mexico), and co-producing exhibitions (Have Several Seats at MadeSpace Seattle). Her artistry extends into music and fashion, having created album art for Wais P Chinchilla and serving as a brand ambassador for Soul Chain’s collection. Beyond visual arts, Soulma plays a pivotal role in the creative community as co-founder of That Thing marketplace and previously the event coordinator at Wa Na Wari Gallery, and currently working with the Tacoma Art Museum. Her journey began with an internship at BET before attending Howard University, reinforcing her passion for cultural storytelling. Now based in Seattle’s Central District and Tacoma, Soulma continues to shape spaces where past and present merge—crafting narratives that celebrate Black excellence, resilience, and creative evolution.
IG: @soul_makes_art
PERRI RHODEN is an internationally exhibiting Abstract Mixed Media Artist and Muralist based in Seattle, Washington, USA. Her childhood home doubled as her first exhibition space, where her mother would proudly display the art projects Perri created in elementary school. However, she stepped fully into her calling as a visual artist while studying at Howard University, where she earned a Bachelor of Fine Arts degree in Studio Arts in 2013.
Perri's signature can be spotted in the harmonious play between texture, pattern, and bold hues that characterize her art. She embraces experimentation with dynamic materials, including acrylic paint, fabric, various gel mediums, glitter, and wood. Drawing inspiration from her identity, Perri threads themes of Black feminine energy and sensuality into each of her works, while maintaining an abstract ambiguity that invites a range of interpretations.
Her permanent and temporary art installations and murals decorate multiple Seattle neighborhoods, including the Central District, Rainier Valley, Ballard, Downtown Seattle, and Capitol Hill. She is also a live painter and offers live painting and commission services for public events and private parties.
Perri is currently accepting new projects, commissions, public art opportunities, and print orders for 2025-2027!
IG: @thecurlynugget
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