Jesse Jackson: A Civil Rights Superhero in My Lens

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I still carry vivid memories of the moments I encountered Reverend Jesse Jackson, a man whose presence felt larger than the rooms he entered. The first time I met him was in Cleveland, not long after the debate between Senator Barack Obama and Hillary Clinton. I was there working as a photographer, navigating the charged atmosphere where politics, media, and history converged. Beside me stood my niece, Paige Smith — then a young journalist — filming with a steady focus that belied her age. Backstage, amid the swirl of campaign staff and whispered strategy, I had the distinct honor of introducing my nephew, Aaron Sabino, to Reverend Jesse Jackson, a true civil rights superhero whose legacy continues to inspire generations and the power networking conference by Dr. George Fraser. Jesse Jackson carried an unmistakable gravity. When we met, it was brief, but it was enough. It felt like standing near a current of history still in motion.

Seeing him again on the campaign trail reinforced something deeper for me. Jackson was not only a civil rights activist; he became, in my own journey, another reason to believe activism was a calling rather than an abstract ideal. He was an icon who demonstrated that moral conviction could be public, disciplined, and courageous. Years later, I would meet him again at the Congressional Black Caucus gathering in Washington, D.C., where I attended with Silver B. Richards, a local legend from Cleveland. In those spaces, Jackson’s legacy was palpable — his voice echoing through decades of struggle, coalition-building, and relentless advocacy. His leadership symbolized a bridge linking the unfinished work of the Civil Rights Movement with contemporary battles for equity and dignity.

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Jackson’s associations underscored his place within a lineage of transformative figures. He stood alongside giants like Dr. Martin Luther King Jr., shared platforms with Al Sharpton, and worked closely with Ambassador Andrew Young. He invoked the global moral arc embodied by Nelson Mandela, reminding us that civil rights was never solely an American story, but a human one. Jackson walked — literally and symbolically — in the footsteps of those (MLK) who crossed the Edmund Pettus Bridge, where courage met brutality and where democracy itself was tested. For many, he was a leader. For me, he was a brick — another brick in the foundation shaping my understanding of ancestry, responsibility, and the African-American experience.

In 1988, I was 18 years old, witnessing history unfold as Jackson ran for president, expanding what felt politically imaginable. His campaigns were not merely electoral exercises; they were declarations of belonging. Figures like Bernie Sanders, who served as a delegate during Jackson’s presidential run, reflected the breadth of the coalition he sought to build. Jackson called it a Rainbow Coalition — a vision insisting that justice must be inclusive, that equality and equity were inseparable from progress. His words still resonate: “Keep hope alive.” And equally enduring: “You are qualified. You are able.” These were not slogans; they were affirmations aimed at those long told to doubt their worth.

It is bittersweet to reflect on his legacy in our present moment. Civil rights, which exist to protect all people — Black, white, Asian, East Asian, Latino, Indigenous — sometimes feel fragile under shifting political winds. Yet Jackson’s example reminds us that rights are never self-sustaining; they endure through vigilance, participation, and courage. I remember the emotion on his face when Barack Obama rose to the presidency — tears that captured not only personal pride, but the weight of generations who struggled to make that moment possible.

I share my photographs now in honor of Jesse Jackson during Black History Month — images not just of a man, but of a movement, a voice, a conviction. I pray for our country, and I pray that we each look inward. Jackson’s life asks something of us: to resist cynicism, to reject division, and to remember that justice must mean justice for all. The introspective, righteous voice within each of us might dare to say: I am Jesse Jackson — at my best. And at our best, perhaps we too can keep hope alive.

Brooklyn Sabino Smith: Orchestrating Unity — Adornment at the Confluence of Ancestry and Futurism

Big heart of gold 

“Brooklyn Sabino Smith” does not simply design jewelry; she composes constellations meant to be worn.

In her studio, light behaves like a collaborator. Morning arrives softly, filtered through gauze curtains, touching sheets of metal, slivers of carved wood, rods of glass, and a velvet tray where diamonds wait with patient, ancient indifference. On the central worktable lies a half-finished piece: a brooch unfurling like a flower not yet cataloged by botany, its geometry echoing Adinkra ideographs—symbols of memory, endurance, interdependence.

Smith moves with the assurance of someone who understands that ornament, at its highest register, is philosophy. Her work is Afrocentric yet unbounded, rooted yet planetary. Petals appear in brass and oxidized silver, spirals emerge from ebony and translucent glass, chromatic planes collide—cobalt against gold, crimson against smoke. Nothing is decorative for decoration’s sake. Every line is a proposition.

This season, her practice bends toward a new axis: futurism braided with ancestry. “I’m looking for the African,” she says, “and the citizen of the world.” In Smith’s lexicon, the two are not opposites but mirrors.

Pinned above her drafting desk is a handwritten note: HEXAGRAM 8 — Pi: Unity, Co-ordination. It is not there as mysticism, but as method.

Water above earth.

The ancient text speaks of assembly, of hearts drawn together, of the peril of lagging behind the current of collective movement. Smith reads it as both omen and instruction. Jewelry, after all, is an intimate architecture of relation: between maker and wearer, body and object, past and possibility.

In anticipation of the Chinese New Year, Smith begins a series she calls Flowing Bowl. The pieces shimmer with kinetic balance—necklaces that seem poured rather than constructed, earrings that hold tension like suspended droplets. Circular forms repeat with subtle variations, invoking continuity rather than closure. She incorporates red lacquered wood beside cool steel, jade-toned glass beside diamond pavé. The palette nods to celebration; the structures whisper of convergence.

The first line of the hexagram becomes a quiet manifesto in metal: Where there is confidence, unification proceeds flawlessly. There is a windfall yet to come.

Confidence, here, is not bravado but fluency. Smith trusts materials that resist her. She coaxes glass into obedience, persuades wood to honor angles, convinces metal to curve like breath. In her hands, disparate mediums negotiate rather than compete.

The second line—unification from within one’s own circle—finds expression in collaboration. Smith invites a woodworker versed in West African carving traditions, a glass artist trained in kiln-formed translucency, a metalsmith obsessed with micro-hinges invisible to the eye. The studio becomes an ecosystem. Ideas circulate. Authority dissolves into dialogue.

Unity is not sameness; it is orchestration.

But the hexagram warns, too. The third line cautions against alliances with what corrodes. Smith recalls early offers that promised visibility at the expense of integrity: shortcuts in craftsmanship, dilution of symbolism, spectacle over substance. She declined. Disaster sometimes wears the mask of opportunity.

By the fourth line, the text gestures outward—co-operation beyond the immediate circle. Smith’s work travels: exhibitions in cities where viewers trace unfamiliar symbols with reverent curiosity, collectors who speak different languages yet recognize the grammar of care embedded in her designs. Her jewelry becomes a site of meeting.

The fifth line tells of a king who loses the quarry ahead because the people were not warned. Smith reads this as a meditation on communication. Art, however refined, falters if it withholds its invitation. She begins writing more—about Adinkra meanings, about material choices, about the ethics of adornment. Context, she understands, is not explanation but hospitality.

And the top line, stark as winter:

Attempts at unity without leadership result in disaster. Leadership, in Smith’s world, is not hierarchy but coherence. The artist must hold the center—not to dominate, but to align. Without that gravitational force, even brilliance scatters.

On New Year’s night, beneath lanterns and the percussive joy of celebration, Smith wears one of her own creations: a pendant where a diamond rests at the nexus of intersecting planes, metal and wood meeting like continents. It catches light, then releases it, as if demonstrating the simplest and most elusive truth:

Beauty is what happens when elements agree to belong to one another.

In Brooklyn Smith’s hands, unity is neither slogan nor symbol alone. It is structure, discipline, destiny—water lying upon the land, co-ordination made visible, a future assembled from fragments that were never truly separate.

@BrooklynSabinoSmith, #BrooklynSabinoSmith, Artist, Jeweler, #JewelryMaker, @JewelryDesigner,

The Architecture of Allure: Posing and Professionalism

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On set withGS3 Photography, the atmosphere is one of intense, focused creativity. Sabino approaches a shoot not as a mere documentation of a model wearing lingerie, but as an architectural study of the human silhouette. His direction is meticulous; he understands that a successful boudoir or fashion image relies on the subtle geometry of the body. He guides models to create “angles and arching,” shifting weight to one hip to create that coveted S-curve, or lifting arms to arrange hair—a pose that transforms a simple action into an elegant revelation of the belly, hips, and back. “Dramatic lines combined with vibrant colors make a strong contrast that brings richness into my artwork,” Sabino explains, referencing his fine arts background. Photos online

This artistic rigor is matched by a profound commitment to professionalism, particularly in the nuanced realm of posing. Sabino has cultivated a reputation for creating a “pleasant and respectful environment” where communication is paramount. This expertise extends to working with models on the autism spectrum, where the traditional chaos of a photoshoot is replaced with structured, clear direction. By breaking down poses into simple, understandable instructions—focusing on the position of a hand, the turn of a chin, the creation of “negative space” between an arm and the torso—Sabino empowers his subjects. He replaces anxiety with intention, allowing their natural grace to emerge without the pressure of improvisation. This patient, instructional methodology echoes his years as an educator at institutions like the Ursuline College, Virginia Marty School of Fashion and Cuyahoga Community College for photography, proving that the best photographers are also the best communicators.

THE ART OF THE POSE: How Natasha & TeAna Create Magic in Front of the Lens

In the world of professional photography, the camera does not create beauty—it merely records it. The true artists are the ones standing in front of the lens. In this video, we celebrate the extraordinary talent of models Natasha Logsdon and TeAna, two women who transform a simple photoshoot into a gallery of living art.

Watch as we dive deep into the mechanics of modeling, exploring how Natasha and TeAna use their bodies, expressions, and energy to craft stunning, professional photographs. From the glitz of Las Vegas poolside to the intimacy of a hotel suite, they prove that true beauty lies in the details.

The Alchemy of a Simple Gesture

There is a common misconception that modeling is simply “looking pretty.” In reality, it is a highly skilled form of non-verbal communication. Natasha and TeAna demonstrate that beauty is often found in the smallest, most subtle movements.

· The Whisper of a Hand: Watch how Natasha allows her fingers to relax gently against the fabric of a swimsuit. It isn’t just a hand; it is a narrative element that suggests elegance and ease. A tensed hand would scream anxiety, but a soft hand whispers luxury.
· The Weight of a Gaze: TeAna understands that the eyes are the windows to the soul of a photograph. In one frame, her gaze is fierce and editorial, piercing through the lens. In the next, she softens her eyelids slightly, creating a dreamy, romantic atmosphere. This split-second adjustment changes the entire mood of the shot.
· The Architecture of the Body: A slight tilt of the chin can elongate the neck into a swan-like curve. A shift of weight onto the back foot creates a natural, candid “S-curve” in the silhouette. We analyze how Natasha uses her angles to play with the light, creating shadows that sculpt her features. Photos online

The Joy of Collaboration

Great photographs are rarely taken in a vacuum. They are built by a team. In this video, you will witness the beautiful synergy between Natasha and TeAna. They aren’t just posing individually; they are actively assisting each other to ensure the final product is perfect.

Between takes, you will see them adjusting a stray hair on the other’s shoulder, offering a pep talk before a difficult pose, and stepping in to tug a wrinkle out of a dress. They help each other with styling transitions—zipping up zippers and suggesting which accessories look best with the casual wear. This isn’t just professionalism; it is a sisterhood of artistry. They know that when one of them looks good, the entire production looks good.

Join us as we celebrate the dedication, the emotion, and the technical prowess of Natasha Logsdon and TeAna. They remind us that a photograph isn’t just a picture; it is a feeling, captured in a fraction of a second.

From the Strip to the Seine: A Global Vision

While Las Vegas provides a stage of dazzling lights and bold aesthetics, Georgio Sabino’s lens is truly global. His passport tells the story of an artist in constant pursuit of new frontiers. He has traversed the United States, bringing his signature style to both coasts, and has planted his flag on the international streets of fashion. His work has graced the romantic roads of Paris, France, where the very air seems saturated with artistic history, and has captured the raw, untamed beauty of Tanzania, proving his versatility across vastly different cultures and landscapes. This international experience culminates in a deep understanding of what it takes to create an image worthy of the world’s most prestigious publications.

The Holy Trinity of Fashion: Vogue, Elle, and Beyond

For a photographer of Sabino’s caliber, the ultimate canvas is the magazine cover. His body of work, which has already been featured in publications like Ebony and Essence, is primed for the highest echelons of fashion media. When aiming for global domination, Sabino sets his sights on the titans of the industry:

In the United States, the pinnacle remains Vogue. As the arbiter of American fashion since 1892, landing a cover or editorial spread in Vogue is the undisputed marker of having arrived. Alongside it, Elle USA stands as a powerful platform, a staple read for fashion professionals that celebrates both high fashion and accessible style.

Sabino is working towards crossing the Atlantic, the European standards are equally exacting. British Vogue, the first international edition launched in 1916, offers a platform known for its eclectic mix of high culture and street style. In the heart of European chic, Vogue Paris (or Vogue France) represents the zenith of sophisticated, sometimes avant-garde, fashion photography. Meanwhile, the subcontinent beckons with Vogue India, a publication that masterfully weaves traditional Indian aesthetics with contemporary global fashion narratives. Sabino’s ability to photograph “national and international” subjects with equal authenticity makes him the ideal candidate to tell stories for these diverse audiences. Photos online

The Creative Collective

No vision of this magnitude is realized alone. Behind the lens, a trusted team ensures that every detail, from the drape of silk to the catchlight in a model’s eye, is perfect. Elmer Turner, Sabino’s dedicated assistant, is the steady hand that anticipates needs and maintains the technical precision required for a high-stakes editorial shoot. Meanwhile, the creative energy is often sparked in moments of connection, such as when Georgio visited with colleague Juleick Smith when this photo shoot occurred. These collaborations and conversations are the lifeblood of GS3 Innovations, fueling the next wave of concepts destined for the page and the screen.

As GS3 Photography looks toward the future, the mission remains clear: to capture the “celestial moment,” to immortalize the intersection of confidence and vulnerability, and to prove that whether in a Las Vegas studio or a Parisian courtyard, the art of fashion is the art of humanity. Are you ready? Photos online

Model Natasha Logsdon and TeAna

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#GS3Photography #GeorgioSabino #FashionPhotography #LasVegasPhotographer #LosAngelesPhotographer #BoudoirPhotography #EditorialShoot #Vogue #ELLE #ParisFashion #Tanzania #ModelPortfolio #FashionFilm #BehindTheLens #LingeriePhotography #Fashion #MagazineCover #ArtOfThePose Photos online

Amazing Weddings Across the Country ask GS3 Photography

GS3 Photography

Close your eyes for a moment and picture the day you’ve always imagined — the quiet breath before you walk down the aisle, the way your hands find each other during the vows, the laughter that spills out when you realize this is really happening. That’s where GS3 Photography lives — in those real, unscripted, once-in-a-lifetime moments.

I’m Georgio Sabino III, and over the course of photographing more than 359 weddings across the country, I’ve had the honor of documenting love stories from every culture, tradition, and walk of life. From grand ballroom celebrations to intimate ceremonies, I don’t just take photos — I preserve history. Your history. The emotion, the energy, the enthusiasm, the excitement — all captured with intention and heart.

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My background in fashion and fine art shapes the way I see your wedding day. I look for elegance in movement, beauty in light, and style in every detail — the gown, the suit, the décor, the way your families embrace. This artistic perspective allows me to create images that feel both timeless and editorial, emotional yet refined.

GS3 is more than one photographer — we are a creative team. From cinematic video coverage to breathtaking drone perspectives and a dedicated second shooter, we offer thoughtfully designed packages to ensure no moment is missed. While one lens focuses on the grand story, another captures the quiet tears, the proud smiles, the subtle glances that mean everything.

Your wedding day will pass in a beautiful blur — but your images should bring you right back to the feeling, every single time. That’s our promise.

View our work and imagine your story here:

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Artistic Jungle: Layered Realities by Artist Georgio Sabino III

Artistic Jungle "Birds Butterflies II" by Georgio Sabino III

Georgio Sabino III’s Artistic Jungle is an exploration of how the physical world and digital reality intertwine through layered experiences of sight, memory, and rhythm. This evolving body of work moves through overlapping planes of nature, identity, and technology, where lush ecosystems coexist with coded light and augmented vision. Each artwork is built in layers: atmospheric backgrounds suggest misty forests or cosmic skies, while detailed flora, fauna, and human figures form a second layer of living presence, symbolizing growth, migration, and spiritual connection. Over these, Sabino adds bold digital patterns, paint-like gestures, and repeating motifs that create additional layers of data, emotion, and cultural memory. These strata reveal how stories, histories, and futures rest on top of one another rather than replacing what came before. The series embraces an Afro‑futuristic lens, in which Black identities, ancestral wisdom, and speculative technologies fuse into new visual worlds. In the Artistic Jungle, every layer—organic, synthetic, emotional, and virtual—contributes to a polyrhythmic design, inviting viewers to look through the surface, feel the depth beneath, and imagine how art might evolve as our realities become ever more layered.

About the Biographical Artist CV:

Georgio Sabino III is a multi-disciplinary visual artist, photographer, designer, and tech innovator whose work fuses fine art, fashion, and emerging technologies into immersive visual experiences.

Professional Profile

  • Chief visionary and strategist for GS3, leading a collaborative studio that merges the visual arts, design, and technology, including app development and augmented reality experiences for galleries, public art, and brand clients.
  • Recognized for polyrhythmic visual narratives—layered photographic and graphic compositions that emphasize symmetry, balance, and saturated color while inviting viewers to explore their own identities through extended reality environments.
  • Widely sought as a creative director and educator, bridging professional arts, business, and community sectors through strategic partnerships, workshops, and mentorship initiatives that cultivate new talent and culturally responsive visual storytelling.

Artistic Vision

  • Develops series in photography, mixed media, and digital compositing that integrate augmented reality triggers, enabling audiences to activate moving images, sound, and data overlays on physical artworks.
  • Pursues a design language grounded in strong linear structure, vibrant chromatic contrast, and precise spatial rhythm, producing a sense of completeness while pushing viewers toward experimental, technology-enabled engagement with the work.
  • Articulates a clear conceptual framework around “polyrhythmic identities,” using portraiture, fashion, and urban landscape imagery to interrogate how culture, memory, and technology intersect in contemporary life.

Leadership in Art, Technology, and Community

  • Founder and CEO of GoVia: Highlight A Hero, a community–police safety platform that leverages real-time communication, documentation, and support tools to promote safer, more transparent encounters.​
  • Leads cross-sector collaborations with civic agencies, foundations, and incubators to position GoVia as a model for community-centered public safety innovation, earning support from organizations such as MIT Solve and regional entrepreneurial programs.
  • Provides strategic creative leadership for GS3 initiatives that connect business leaders, students, and communities, emphasizing mental and physical well-being, cultural sensitivity, and data-informed understanding of audience behavior and learning styles.

Selected Professional Highlights

  • Serves as director at Hector Vega Art & Design Studio, contributing to major public art commissions including civic murals and utility-box projects across Cleveland and Akron.
  • Twice invited as an official photographer at the White House for presidential celebrations of national championship teams, strengthening his reputation in high-profile event, sports, and performance photography.
  • Exhibited and featured in regional and national venues and media platforms, including museum and gallery shows, arts fellowships, and coverage in print, broadcast, and digital outlets that spotlight his hybrid practice in art, fashion, and photography.

Teaching, Mentoring, and Professional Service

  • Designs and delivers visual arts curricula, workshops, and artist talks for schools, colleges, and community arts organizations, with a focus on technology-enhanced practice and career-path development in creative industries.
  • Actively mentors emerging artists and creative entrepreneurs, drawing on extensive studio, commercial, and startup experience to guide portfolio development, branding, and market engagement.
  • Serves in professional and civic capacities as an art juror, advisor, and association member, contributing expertise to regional arts education networks and professional photography organizations.

Celebration for Martin Luther King: From the Haunted Oak – A Night Where History Breathed (A Night A Oscar Richie Hall at Kent State University)

There are moments when history doesn’t sit quietly in a book—it stands up, speaks back, and sings. That was the feeling inside Kent State as Prester Pickett of Cleveland State University took the stage for From the Haunted Oak: An Evening of Drama, Gospel Music and Poetry Celebrating the Life and Legacy of the Right Reverend Dr. Martin Luther King, Jr., presented by the Department of Africana Studies. The room went still the moment Prester began to speak. His voice—measured, reverent, thunderous when needed—carried an uncanny resonance of Dr. King himself. Not imitation, but invocation. You could hear the struggle of the people in every pause.

Drawing from King’s most searing speeches, Pickett guided the audience through the moral arc of the movement. From the Lincoln Memorial, where King reminded America that “now is the time to make real the promises of democracy,” to Birmingham, where King spoke of police dogs and fire hoses turned on children, exposing the cruelty of injustice to the world. He moved through “I’ve Been to the Mountaintop,” King’s final prophetic address, echoing the line that still chills history: “I’ve seen the Promised Land. I may not get there with you…”—and then pivoted to King’s often-overlooked critiques of economic injustice, militarism, and corporate greed, themes King raised powerfully in his later speeches and sermons.

Then came Bertha Pickett, and the evening lifted into song. She didn’t just sing—she gave testimony. Her gospel selections were rich, full-bodied, and joyful, carrying sorrow and hope in equal measure. The audience responded instinctively, engaging in call-and-response, an African tradition older than the nation itself. Voices rose together, clapping in rhythm, blurring the line between performer and community. When Prester and Bertha sang together, it felt less like a performance and more like a communal prayer.

The night deepened as Dr. Mwatabu S. Okantah, Acting Chair of Africana Studies, took up the drums, grounding the space in ancestral rhythm, while Vince Robinson wove piano and poetry together with precision and grace. Their reflections illuminated not just King’s triumphs, but his trials—his isolation, his doubts, his insistence that love must remain central even when power corrupts. Okantah shared candidly, “I never wanted to be an insider—and now that I have a foot in the door… it’s exactly like I thought it would be,” naming a system driven by distrust and corporate greed without love for the people. Yet his message did not end in despair. It was a charge.

The evening closed as gently as it opened. Okantah sang his favorite song, soft but resolute, and ended with a simple, radical benediction: “Love. Love. Love.” Three times, as if to insist we hear it, remember it, and live it. The audience rose not just applauding, but changed—reminded that Dr. King’s legacy is not finished business. It is a living call. And for one powerful night at Kent State, that call was answered.

Georgio Sabino III (GS3) the Artist Software Developer

Georgio Sabino III

GS3 is a prominent multi-disciplinary Cleveland-based artist, educator, photographer, and tech innovator known for his vibrant, contrasting digital art, fashion design, and mentorship in art education, having served as a White House photographer for national champions and co-founding initiatives like GoVia for community safety, blending creativity with technology to empower people and solve problems. 

Key Aspects of His Work & Career:

  • Artistic Style: His digital art features dramatic lines, vibrant colors, and strong contrast, often inspired by his original paintings and incorporating unconventional textiles and bold fashion.
  • Photography: He gained prominence photographing championship wins for the Ohio State Buckeyes and Cleveland Cavaliers at the White House under President Obama.
  • Education & Mentorship: An “artist teacher,” Sabino teaches at institutions like Ursuline College and Tri-C, focusing on artistic growth and business skills, and mentors youth through programs funded by the Gund Foundation.
  • Business & Innovation: He’s the owner of GS3 Innovations, LLC, and developed GoVia, a platform blending art and tech to create community-focused digital solutions.
  • Community Focus: He uses his platform to build connections, raise visibility for organizations, and promote unity, as seen in projects like “The Next 400”, which focused on racial understanding. 

In essence, Georgio Sabino III is a visionary combining fine art with technology, business acumen, and a deep commitment to education and community building in Northeast Ohio and beyond, leaving a significant mark through his visually striking work and mentorship. 

Afro-Creole and the Temporal Pulse of Heritage: Tracing Ancestral Memory to Afro-Punk Futures in the Art of Georgio Sabino III (GS3)

Abstract

This paper explores a new conceptual art form: the Afro-Creole titanium coin, an object that evokes layered histories — West African diasporic aesthetics, Classical Creole idealism, and Pharaonic Egyptian symbology — as an artistic artifact embodying ancestral recurrence and speculative futurity. Anchoring this vision is the multidimensional artist Georgio Sabino III (GS3), whose interdisciplinary practice connects ancient cosmologies to Afro-punk sensibilities, reaffirming lineage while charting new cultural imaginaries.


1. Introduction: Reimagining Coinage as Living Archive

Coins have historically functioned as mobile archives — carrying the visage of rulers, the stabilizing imagery of states, and symbolic messages that encode power. Classical Afro-Creole coinage, for example, was a medium of philosophy, politics, divine myth, and civic pride. When combined with Egyptian hieroglyphic inscriptions, the coin becomes a palimpsest of cultural chronologies. In GS3’s conceptual design, titanium — a material associated with industrial futurism and endurance — replaces ancient silver, binding durability with cultural resonance.

This coin is more than an object: it is a syncretic artifact that speaks to diasporic memory, ancestral reverence, resistance aesthetics, and the Afro-punk ethos — an artistic movement that embraces Afrocentric futurity fused with countercultural expression.


2. Afro-Creole Identity with Greek Influences: Historical Resonances and Diasporic Aesthetics

The notion of Afro-Creole identity has emerged not from geographic co-location but through cultural translation across histories. During antiquity, Egypt (Kemet) stood at the crossroads of Mediterranean, African, and Near Eastern worlds. Greek travelers, scholars, and later conquerors encountered Egyptian cosmologies, triggering mutual influence in art, religion, and philosophy.

For the African American diasporic subject, connecting to these trans-Mediterranean architectures of thought means reclaiming intellectual genealogies often elided in Western curricula — from the contributions of Egyptian mathematics and cosmology to the presence of scholars of African descent in Hellenistic schools.

GS3’s coin design visualizes this linkage: the embossed profile, inspired by a living contemporary’s visage (though not a literal portrait), carries the weight of ancestral specificity — a phenomenology of Black subjectivity that resists flattening.


3. Blue Curled Strand: Symbolism of Ancestral and Future Currents

The striking blue curled hair strand — modern, surreal, and metaphoric — functions as an embodied signifier. Blue, across cultures, symbolizes both the infinite (sky, water) and the sacred. In this instance:

  • Curls represent African hair textures historically stigmatized yet central to identity affirmation.
  • Blue pigment evokes ancient Egyptian faience and lapis lazuli, materials associated with royalty and the divine.
  • The coexistence of hair and metallic relief on the coin bridges era and expression, signifying continuity between ancestral material cultures and contemporary aesthetics.

Thus, this visual element is not decorative but a philosophical signpost to temporal continuity, a motif of lineage that flows but never breaks.


4. Egyptian Hieroglyphs, Afro-Creole & Greek Letterforms, and Polyvocal Inscription

Around the rim of these coins, an interplay of Afro-Creole – Greek letterforms and Egyptian hieroglyphic motifs signals a polyvocal inscription. Unlike classical coins that often employ standardized imperial text, this hybrid script is a poetic encoding of:

  • Names and sounds that reflect diasporic phonologies
  • Concepts such as “heritage,” “resistance,” “memory,” and “becoming”
  • Mnemonic devices that demand the viewer participate in decoding the narrative

In anthropological terms, this script acts as an agogic threshold, inviting interpretation through multiple cultural grammars while affirming an inclusive archive.


5. Three Pyramids as Temporal Locus

In the variante coin with three pyramids, we find an architectural horizon that is both rooted and speculative. The pyramids symbolize:

  • Domesticated ancestral past (Old Kingdom Egypt)
  • Mnemonic stasis — a testament to enduring creativity
  • Three temporal registers: past, present, and future

The pyramids here do not merely recall antiquity; they function as transhistorical portals, aligning the Afro-Creole and Afro-punk imaginary with cosmic continuity. GS3’s use of this imagery situates his work within a lineage of Black futurist speculation — where heritage is not static but evolves as resonant frequencies — echoing Octavia Butler’s insistence that “all that you touch you change, all that you change changes you.”


6. The Afro-Punk Inflection: Heritage as Futuristic Practice

Afro-punk, as a cultural movement, is liberatory and transgressive, channeling self-authorship through fashion, music, performance, and visual art. GS3’s lineage from this aesthetic is evident:

  • Through fusion of classical and contemporary signifiers
  • Through gender-affective visual language
  • Through disturbance of normative historical narratives
  • Through cinematic and expressive imagery grounded in diasporic embodiment

The potential of the coin as wearable art, collectible sculpture, and cultural manifesto positions it as emblematic of a broader Afro-punk future that reframes ancestry not as static reverence but dynamic resistance and reinvention.


7. GS3 Conclusion: Objects That Speak Across Time

In summation, the conceptual Afro-Creole titanium coins are not only artistic artifacts; they are vectors of memory, identity, and futurity — interweaving African American ancestral threads with Mediterranean and Egyptian forms. These objects function as philosophical provocations, inviting viewers and collectors to reconsider how material art carries lineage, transforms narratives, and inspires renewed imagination. “This came from a dream to reality” – GS3 says. 

At the heart of this is Georgio Sabino III, whose multifaceted practice — spanning photo-media, conceptual sculpture, writing, and community engagement — embodies a creative ethos that knows no temporal boundaries. His work naturalizes heritage as an active force for futurity, reminding us that the past is not a museum but a living archive, and that creative practice is one of the strongest inheritable currencies of culture.

Learning the Shape of Courage: Bolton Elementary Paper Mache with Artists: Oliver St. Clair and Georgio Sabino

Oliver St. Clair Artist Paper Mache

By the time the wheat paste began to thicken—just right, not too runny, not too stiff—the room at Bolton Elementary had already changed. What began as a lesson plan had become a living process. Paper was torn, not cut. Tape crossed and re-crossed itself like scaffolding. Hands moved with intention. Eyes widened. And in that widening, something essential happened.

At the center of this transformation was Oliver St. Clair, an artist-teacher whose presence in the classroom is quiet, focused, and deeply observant. Teaching alongside Georgio Sabino, Oliver worked with sixth- and eighth-grade students at Bolton to create papier-mâché masks initially inspired by The Lion King, planned for a March performance. The work, however, did what real art always does—it expanded.

Paper Mache

Some students followed the lion’s mane and structure closely. Others felt the pull to branch off, to reshape the form, to invent new colors, new expressions, new identities. Rather than rein them in, Oliver and Mr. Sabino leaned in. She understood that structure and freedom are not opposites—they are partners.

“We’ve been working on this since October,” Sabino reminded the class, grounding the moment in time and discipline. Art, here, was not rushed. It was earned.

Teaching the Process, Not Just the Product

Oliver’s teaching at Bolton focused on process literacy—helping students understand why each step mattered. Construction came first: planning the mask shape, building the armature, learning how balance and symmetry affect form. Then came taping, tearing paper by hand to feel its grain, mixing wheat paste and noticing its chemical change, layering patiently, allowing time to dry. The young scholars has to get use to the feel of wet wheat paste. Can you hear the squeals and ehhh’s.

Paper Mache

When Mrs. Oliver was not there, this was science in action. Ratios mattered. So did timing. Math appeared in measurements, proportions, and repetition. Writing entered through reflection—students documenting what worked, what didn’t, and what they would try next.

Oliver moved from table to table, noticing who needed encouragement, who needed challenge, who needed quiet reassurance. She paid attention to detail not only in the artwork, but in the students themselves—the way one hesitated before committing color, the way another worked fearlessly, improvising with embellishments. The gifted artists and the less fortunate; but the less become more each time they came back to the classroom. 

“She’s a super hero,” Sabino said, without exaggeration to students. “Highly recommended. Deeply motivated. And she’s in the schools doing the work.”

Watching Art Become Itself

As layers accumulated, so did confidence. Both teachers watched students’ eyes grow larger as the masks began to take shape—flat paper becoming dimensional, imagined ideas becoming tangible objects. Joy appeared not as noise, but as focus. Students asked to stay longer. Cleanup became a negotiation.

Sabino sharpened pencils and gathered written reflections. Oliver passed out scissors and paintbrushes, helping sabino set up water cups, modeling care for tools and space. When it was time to clean, there was reluctance—not because the work was unfinished, but because it mattered.

Each mask told a different story. Some were bold and regal, echoing lions. Others were abstract, emotional, experimental. Every student could explain their choices. Every student could point to a moment where something “went wrong” and became better.

Georgio repeated what he tells all his classes:
“You cannot make a mistake in art—just make it better. Make the mistake part of the process. Don’t get stuck. Keep going.”

Oliver embodied this philosophy. Her own artistic practice—rooted in fiber, paper, symbolism, and vulnerability—translated seamlessly into teaching. Without lecturing, she modeled patience. Without controlling, she guided. She helped students see that art is slow for a reason, and that growth happens in layers.

A Classroom That Remembers

By the end of the session, Bolton Elementary held more than masks. It held evidence of listening, collaboration, and trust. Students had learned how to plan, how to adapt, how to observe change over time. They learned that their ideas mattered—and that discipline makes freedom possible.

Oliver St. Clair did not center herself in the room. She centered the students. And in doing so, she left an imprint far more lasting than papier-mâché: a belief that art is a way of thinking, a way of learning, and a way of becoming.

At Bolton, that belief took shape—slowly, deliberately, beautifully—one torn piece of paper at a time.

A Dialogue of Continents, Cloth & Art (Painting): Nana Kwesi Agyare-Ansah & Georgio Sabino III — A Cross-Cultural Tapestry in Contemporary Painting and Fabric Art (AR)

 Nana Kwesi Agyare-Ansah & Georgio Sabino III  — A Cross-Cultural Tapestry in Contemporary Painting and Fabric Art
Nana Kwesi Georgio Sabino Painting “Essence of Beauty”

In a moment that felt like history converging with the present, the collaborative work of Georgio Sabino III and Ghanaian abstract pioneer Nana Kwesi Agyare-Ansah has emerged not merely as an exhibition but as a compelling story of artistic dialogue and cultural resonance. What started as intersecting paths between two visionary creators has become a body of work that transcends traditional boundaries of painting, textile, and narrative — ripe for appreciation in global capitals of art such as Paris (e.g., at spaces like Galerie Le Feuvre & Roze or Galerie Laure Roynette within the vibrant contemporary scene of the Marais) , Los Angeles (at forward-looking venues such as Kohn Gallery or curator-driven platforms like Coagula Curatorial) , and New York City (at pioneering Black-owned institutions such as Skoto Gallery and Calabar Gallery). Purchase Here

At the heart of this collaboration lies a shared curiosity about form, color, and identity. Sabino’s practice traverses photo-based painting and textile design — creating dynamic acrylic and silk/satin surfaces that come alive with both physical dynamism and augmented reality elements, extending the sensory experience of his work beyond the canvas into interactive realms . His textiles — printed silks that echo motifs of nature and human pattern — become wearable paintings: dresses, necklaces, bracelets, and earrings that carry Sabino’s imagery into the realm of couture.

Agyare-Ansah, known professionally simply as “Kwesi Agyare”, brings over two decades of abstract innovation rooted in deep engagement with Ghanaian life and light, color, and emotion. Educated at Kwame Nkrumah University of Science and Technology (KNUST) and Ghanatta College, he harnesses bold, vibrant fields of color that explore contemporary Ghana, layering cultural commentary into visual form through deeply expressive gestural abstraction .

Their collaboration — a fusion of Sabino’s painted textiles and Agyare-Ansah’s abstract languages — is more than a meeting of styles: it is cultural symbiosis. Sabino’s fluid silks — floated into the painting as fabric and then woven through fashion — are integrated into Agyare-Ansah’s own painted gestures. The resulting works radiate with rhythm and narrative: Sabino’s textile becomes part of the painted form, and Agyare-Ansah’s abstraction simmers beneath and around the cloth’s printed images, generating a multi-sensory experience that embodies movement, memory, and materiality.

Necklaces and bracelets fashioned from Sabino’s fabrics — now threaded into Agyare-Ansah’s compositions — become ornaments of meaning, pointing to shared heritages of adornment, identity, and display. Earrings punctuate canvases like notes in a visual score. The work, seen in this light, conjures not only surface beauty but layered symbolic interplay. With GS3 hummingbirds comes the augmented reality (AR) floating in and around the dress as if she on the fashion runway!

This body of work — already captivating audiences in exhibitions in Cleveland and Akron — is now poised to enter a global conversation. In Paris, where institutions and galleries are actively foregrounding African and diaspora art alongside contemporary European work , this collaboration would find rich resonance. Los Angeles’ eclectic, curator-driven landscape — from established galleries to experimental spaces — would offer another stage for its technicolor energy . And in New York City, with its long tradition of African diaspora curators and collectors, the work would join dialogues shaped by decades of cross-cultural exchange .

Supporting this artistic journey are a constellation of advocates and curators — international art critics, diaspora curators, fashion curators, and technologists — all poised to lift this body of work into new dialogues. Their shared aim: not simply to exhibit images but to build bridges of understanding through color, cloth, and cosmopolitan creative vision.

In this emerging chapter, Sabino and Agyare-Ansah aren’t just showing art — they are weaving stories that speak across continents, histories, and material sensibilities — inviting audiences everywhere to see painting not simply as pigment on surface, but as textiles of culture, narrative, and insight.

Poster are now available:

Bulk: Printing in large quantities significantly reduces the per-poster cost.  $75 (10 or more)

Standard (18″x24″): $110 (single print). Framed $250

Large (24″x36″): $210 (single print). Framed $250

Oversized (36″+): $500 – $25,000 for murals and digital use

Purchase the poster by Nana Kwesi Agyare-Ansah and Georgio Sabino III collaboration work of art “Essence of Beauty”

Article (buy within)
https://blog.gs3.us/a-dialogue-of-continents-cloth-art-painting-nana-kwesi-agyare-ansah-georgio-sabino-iii-a-cross-cultural-tapestry-in-contemporary-painting-and-fabric-art-ar/

This collaborative painting presents a stylized, elongated female figure rendered in a rich fusion of abstraction, textile, and symbolic design. The figure stands poised and frontal, her body constructed from **interlocking planes of color warm earth tones, saturated reds, citrus yellows, turquoise, violets, and deep browns—creating a rhythmic patchwork that feels both architectural and fluid.

Visual Description

Nana Kwesi Agyare-Ansah’s hand is evident in the bold color blocking and abstracted anatomy. The face is intentionally faceless and mask-like, divided into tonal segments that resist portraiture and instead evoke universality and spirit. The background, filled with soft, swirling blue motifs, creates a lyrical counterpoint suggestive of wind, water, or ancestral movement allowing the central figure to breathe while remaining grounded.

Georgio Sabino III’s contribution appears through the silk and satin fabric embedded into the composition, particularly within the dress and adornments. These textile elements introduce photographic textures, floral imagery, and patterned fragments that shimmer against the painted surface. The silk is not decorative alone; it functions as narrative material memory, culture, and lived experience literally woven into the body of the figure. The jewelry necklace, bracelets, earrings also incorporates GS3 fabrics, transforming adornment into extension of the canvas.

Brief Art Critique

This work succeeds as a true collaboration, not a visual compromise. Nana Kwesi’s abstract language provides the structural and emotional framework, while Sabino’s silk interventions disrupt and enrich the surface with tactile complexity and contemporary flair. The result is a painting that oscillates between painting, fashion, and mixed media, collapsing boundaries between fine art and wearable art.

Conceptually, the piece speaks to Black femininity, elegance, and resilience without literal narration. The absence of facial features invites projection; the figure becomes collective rather than individual. The harmony between painted pigment and applied silk suggests dialogue between continents, generations, and disciplines.

Overall, this is a stunning, confident work that feels ceremonial yet modern, rooted yet forward-looking. It stands as a visual metaphor for collaboration itself: layered, respectful, and greater than the sum of its parts. A complete blend of fashion and art. Infusions of AI style with a 3D animation.