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so we're heading south from Molly's Art

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Institute of Chicago he was a student

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that was trained and we're heading south

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into the area that would later be called

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bronzeville that he represented so

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beautifully in his painting sees what he

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called these urban nocturnes these

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streets to these night seems he has

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there's a quote from him saying that it

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was these night scenes where you find a

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lot of my race that's what interested me

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and there goes for a reason because as

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we head south it into what was become

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coming to stroll it was a vibrant urban

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landscape and you know i'd like to call

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miley the painter lawyer yet of the

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black modern city scape and he really

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reflected the energy the dynamism the

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action the pace of black urban living in

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the face of real constraints relation

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constraints I am also a figurative

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painter you know as Motley was a

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figurative painter the neighborhood

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itself is a worthy subject for artwork

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just as it was for Motley being in a

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neighborhood like this it's a remarkable

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place you know it really is a remarkable

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place for all the challenges that one

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has to negotiate in the neighborhood in

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neighborhoods that struggled

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economically it's still it's a

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remarkable place and there's a there's a

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style of living there's a sound of life

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that is really appealing and satisfying

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to me I think for myself as a young

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person who first got to

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idea to be an artist when I was a

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teenager actually seen work by an of

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african-american artists is what begun

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to legitimate the possibility she had

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work made me realize that there were

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african-american artists you know this

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sense of possibility became real it

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began to reaffirm the notion that i

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might in fact be Justin that I was

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thinking about being we made me want to

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be a part of that history

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Oh