Meet Najja Moon, a Bakehouse artist and cultural practitioner whose practice employs drawing, text, and sound to explore the intersections of Queer identity, the body and movement, as well as Black culture and familiar relations, both personal and communal.

At the same time, Najja’s practice has become an exploration of her experiences prior to developing a dedicated art practice. From being the child of a preacher and daughter of musicians, raised on gospel music and HBCUs, to life as a basketball player, Najja probes the intersections of these experiences through her artmaking.

Can you tell us about your artistic practice?

My arts practice uses drawing, text, and sound to explore the intersections of Queer identity, the body and movement, Black culture, and familial relations, both personal and communal. A preacher's kid and daughter of musicians, raised on gospel music and HBCUs, I was a basketball player who used to be a kid who wanted to be an artist. Since committing to being a full-time artist, my practice has, in some ways, become the probing of these intersections.

Tell us about a personal artistic project or body of work that you are currently excited about.

I’m currently working on two public art commissions–one in the city of Pittsburgh and another here in Miami. I’ve also been expanding my work by exploring my mark-making as notations for sound compositions. This would include building objects and instruments to perform the drawings.

Tell us about how you have developed as an artist since you began working at Bakehouse.

Bakehouse has been a great partner in my development as an artist, most visibly through exhibition opportunities in our galleries and public spaces, but more intimately in the gift of being in community with such a diverse and giving group of artists. I’ve been held by friends like Michelle Lisa Polissaint, Philip Lique, and Jenna Efrein, just to name a few, in problem-solving ideas, brainstorming new work, and bringing concepts to fruition.