Alright, to start, on our social media, we do a monthly segment called the “Fuck Withs” where we see what the staff is into. So, right now, what’s Cierra fucking with?

Right now I’m really fucking with industrial fashion and music. When I say industrial I think of industrial goth — lots of bass, percussion, and music you can feel in your chest, and it makes you jump and move your body in random ways that you normally wouldn’t. And I’m really fucking with dancing at rave clubs right now.

That’s so fire. What are your top artists at the moment?

Dean Blunt for sure. He’s experimental and dives into rap and jazz but also makes really ambient, weird noise. I also love Ethiopian jazz right now — it really feels grounding for me. And trap metal. I like to drive to it and paint to it — when I'm in the mood and I want some adrenaline. Buddha Savage and Rico Nasty, too (she’s so hard).

What was it like growing up in Cincinnati?

I feel like when I was younger, I felt pretty stagnant and I wanted to do a lot. Where I grew up, there weren't a lot of places that you could walk to. So, before I could drive, I definitely spent a lot of time alone and would do art and write a lot. I’d listen to a lot of music, too. But as I grew up I found that there were so many pockets within the city that I don't think I appreciated until I moved away for a residency a few years ago. So when I came back I really appreciated it.Let's talk about your dreams for the future. How do you see yourself pervading with your art—concerning the environment—socially? I know you're in urban planning [major], so how do you see yourself there?

What got you into creating?

I really needed some type of release. My sister, she really loves to sing, so I always felt like there was something going on in the house. My parents were really supportive, too, even though they weren't super artistic people themselves, but they really appreciate it. They loved to see us paint and do whatever it was we were passionate about. So, yeah that's where it all started.

What were you holding onto that you needed to release?

I felt very silenced. Especially in the schools I went to. They weren't very uplifting about having kids speak and, as a Black kid, they weren’t really interested in what I had to say. So, I needed somewhere to say the things I wanted to say — somewhere where I could be completely honest and not have to hold back.

Yeah, definitely. The work you do is very human and very vulnerable. How do you feel those words, human and vulnerable, relate to your art style? 

I feel like my art is really honest, and it gives a vibe of nonconformity which I really, really need in my life. And my art is a space where I can build on that. Not having to conform to anything in any way and it's almost like an escape in that way.

F*ck, that fits the theme of this issue — subversion — so perfectly. Could you tell me more about the space you work in? What does it mean to you?

I really enjoy the space I work in. I mean, like I was saying during our shoot, it has no rules. So I just feel like the opportunities are endless and that's been really inspiring to me — to not have any boundaries to hide behind. There's also a lot of space and it’s 24 hours which is really important to me because I like to work at weird times, or I like to keep myself in a spot when I'm working for a long time. But the “no rules” part is amazing because I can make dirty art in there.

Whether it be in this space or at home, how would you describe your creative ritual?

I like to always have everything I need around me so I know that I can stay and take as much time with something that I need. So I feel like my ritual is to be prepared. To be prepared; to be unprepared.