ARTISTS TO KNOW: DESTINY BRANAY
Photography: Jordan Carter
Creative Direction & Production: Bianca Jean-Pierre & Jordan Carter
When I first came across Destiny Branay’s art, two pieces really stood out to me: THE KIDS ARE ALRIGHT and IN THERE SOMEWHERE. Both pieces depicting Black children experiencing moments of joy with bright stars covering their eyes. The star motif has become Destiny’s iconic artistic signature which she describes as “symbolic of the light that exists in Black people that refuses to be dimmed.”
In a time where black pain and trauma, whether the subjects be young or old, are exploited for engagement and profit on the very platforms we spend most of our time, Destiny’s art practice refuses to portray the Black experience so one-dimensionally. Through her thoughtful and colorful large-scale oil paintings, Destiny highlights Black folk in community with one another, centered around the idea of hope as an act of resistance against oppressive systems in America.
Destiny’s work not only honors the resiliency of her ancestors who came before her, but serves as a beacon of hope in the midst of the work that is still left to be done. As she so eloquently puts it, “You have to have hope in order to live. So that's what pushes my work now. This idea of hope.”
Destiny Branay interviewed below by Bianca Jean-Pierre
Bianca: We are very excited to have you as one of SHEER’s featured artists at the upcoming Hamptons Fine Art Fair. Did you always know that you wanted to be an artist? Tell us a little bit more about what your upbringing was like.
Destiny Branay: As a kid, art has always been something that's drawn me in from playing with colors and being able to create these images in my head. My mom was a really artistic person when I was younger, but that was a dream that she had to give up on due to circumstances. I would see projects that she worked on and think “Oh, this is an artist,” and we would work on projects together. So art was always around me.
My mom was really supportive of my artistic talents and my dad knew I had a gift. They placed me in art programs for kids in the summer down here in Baltimore, but there was always something in my mind telling me I'm not good enough. I was comparing myself to everybody all the time and thinking I'm not meant to do this. This is something that I'm just meant to appreciate. I would always quit and then my parents would sign me up again. They would always try to push me but not be too forceful. My parents always knew I was talented and that I should pursue art but were just trying to let me figure it out in my own time. I switched my major over to Art after studying Psychology, but I was still very directionless in what I wanted to do with my work. I was just making work but it wasn't really inspired by anything.
In 2020 with the protests happening, people were trying to get me to create art about the terrible things that were going on, like depicting black people dying and that is not aligned with me. I was super depressed at the time so that was just not good for my mental health. I was really introspective at the time and thinking a lot about what the point of living was? I was listening to the song “Every Nigger Is A Star” by Boris Gardiner (1973) and just hearing him say that over and over again. I thought the whole point of being alive is being hopeful despite these terrible things that are going on. You have to have hope in order to live. So that's what pushes my work now. This idea of hope.
Bianca: I think it's so beautiful that your parents were really supportive of your creative journey early on. The fact that your parents had to take a pause on their artistic pursuits because of survival, but yet they still encouraged you. What kind of art classes were you taking in college?
Destiny: I switched my major over to Fine Art so that’s when I really started being properly trained and taught [myself] how to actually grow my skills instead of just painting or drawing whatever I saw that I thought looked cool.
“I was listening to the song “Every Nigger Is A Star” by Boris Gardiner (1973) and just hearing him say that over and over again, I thought the whole point of being alive is being hopeful despite these terrible things that are going on. You have to have hope in order to live. So that’s what pushes my work now. This idea of hope.”
Bianca: One of the things about your art that really caught my eye was the star motif. It's so consistent in your work. I always appreciate when artists have a very iconic style that anyone can recognize. It seems simple but it's rare and hard to pin down. So it's interesting that you talk a lot about trying to find your place as an artist. When did that start and what made you want to be consistent with it?
Destiny: I really wanted it to be iconic because at that time, I was creating a lot of work, but it wasn't grounded in any specific idea. I didn't have an artist statement or know why I was creating. I just enjoyed painting. So I would paint whatever I felt like, often headless figures because I didn't enjoy doing portraits. I was envious of artists whose work was instantly recognizable as theirs. I didn't know how to establish a style or paint in a distinct way. I struggled with feeling like a genuine artist back then because I lacked direction and clarity. I didn't know what I was doing, so why would anyone take me seriously?
But it all changed in 2020 when I heard Boris Gardiner's song, “Every Nigger Is A Star” It got me thinking about the light inside us. Around that time, I had been experimenting with putting stickers on things—I've always been a big sticker person, decorating my iPad and other items. It's like a childhood thing, connecting with my inner child through stickers. I had this obsession with stickers and was exploring this idea of censorship.
I had seen images online, particularly while researching nude references for my figure paintings, where different shapes were placed over nipples or the crotch area. When I heard Boris Gardiner’s song, I started thinking about the star and the concept of inner light manifesting externally. That's when I began placing stars over the eyes.
“When I heard Boris Gardiner’s song, I started thinking about the star and the concept of inner light manifesting externally. That’s when I began placing stars over the eyes.”
Destiny Branay, IN THERE SOMEWHERE, 36X48in, Oil on canvas
Bianca: I love that. It really speaks to letting things come to you because you can't force it. I'm glad that it found you on your journey.
Destiny: Yeah, that's something I constantly have to remind myself of in my art journey—that it's going to come in its own time. I've always been a bit of a late bloomer in life with everything, so I sometimes get upset seeing everyone around me doing things and wondering why I'm not. But whenever things do come to me, it's always a beautiful flourishing or something I'm super proud of. I'm learning to trust in divine timing—that it will come when it's meant to, and it will be beautiful when it does.
Bianca: Yes, exactly. You have to surrender as a creative to dig a little deeper. Beyond the motifs, how do you choose the subjects in your work? That's also something that really drew me to your paintings—they just feel comforting.
Destiny: The whole idea of my work is a celebration of Black culture and what it means to be a black person living in America. There are so many places you could go with that. Recently, I've been trying to stick with a theme or one aspect of culture and create multiple paintings around it. But I'm the type of person who jumps around a lot. I constantly look at images, so when I get an idea in my head, I feel compelled to act on it immediately. I might have planned to do one thing, but then I'll switch gears.
My inspiration comes from various sources—like looking back at ads from the 70s. My mom grew up in New York, so seeing images of her, her aunts and uncles, and life in the city in the 70s sparks ideas. Family photos also play a big role. All these elements come together to just pick from each one to mash up into what I have right now. It's a collage of multiple different elements.
Bianca: I think you can see that in your work, especially when you talk about Black joy and its importance. So I have a double question. First, what does Black joy look like to you? I see it in your paintings—there's this innocence, this Black innocence that's protected. You can see Black kids having a good time, not having to worry or grow up too soon, just being in community and having fun.
Secondly, how do you think art, specifically your art, can be used as a vehicle for resistance or activism?
Destiny: In terms of the Black joy question, I envision this idea of freedom, inhibition, especially as a kid. I've been exploring my childhood a lot lately. When I was younger, I moved from Baltimore, Maryland to York, Pennsylvania in third grade because my family wanted me to attend a better school. It was a culture shock being thrust from Baltimore, a predominantly Black city, where I mostly saw Black people, to York, where I was often the only Black person in my class. I experienced racism at a young age without much parental guidance on how to handle it.
That experience took away a lot of innocence from me at a young age and forced me to grow up quickly. I had to deal with much bigger problems that I didn't fully understand as a child. Now as an adult, I'm trying to reclaim that innocence and feel unsheltered. I had to create an armor around myself as a kid, and now I wonder, what would it be like if I didn't have to do that? What would it look like if I could just be comfortable and free, without needing to shield or protect myself? What would life be like without having to unpack racism and face those kinds of challenges?
“The whole idea of my work is a celebration of black culture and what it means to be a black person living in America.”
Destiny Branay, WHAT A DAY, 36x48in, Oil on canvas
Bianca: Earlier, you mentioned leaning into your art practice as an independent artist around 2020. People were encouraging you to paint these traumatic images of the Black experience, which we sometimes refer to as "trauma porn," but the Black experience is so multifaceted. Choosing to emphasize what that joyful, peaceful reality could look like is an important aspect that we often don't see highlighted.
Destiny: Yeah, especially in 2020, I saw a lot of people around me deeply engaged in literature about the Black revolution, movement, resistance, and all of that. I noticed a lot of anger. I had to recognize that while it's important to have that fire inside us to drive change and acknowledge the broken and oppressive systems, resistance can't rely solely on anger. If we burn everything down and tear down systems, what do we have left afterward? We need to think about what could be, imagine an alternative future beyond the current moment of crisis. If we remove the bad without a plan or hope for improvement, what's the point? Without a framework for change, we risk recreating the same problems. That's what I'm striving to address with my work.
“I had to create an armor around myself as a kid, and now I wonder, what would it be like if I didn’t have to do that? What would it look like if I could just be comfortable and free, without needing to shield or protect myself? What would life be like without having to unpack racism and face those kinds of challenges?”
Bianca: I completely agree. Sometimes when people bring up the other side of what a movement could look like beyond just anger it can be seen as dismissive or labeled as toxic positivity. To sustain movements, we need to embrace a range of emotions because we're human and our experiences are nuanced. Achieving balance is crucial.
Destiny: I can read Assata Shakur and works by Huey P. Newton, but if I don't have All About Love by bell hooks, I recognize that love, joy, community, and those elements are important. I can't just stay in my house reading literature and strategizing for the revolution all the time; that's not sustainable. I need to go out, be with my friends, feel the sun on my skin, go to parties, and smile sometimes.
Bianca: You shouldn't feel bad about that. I don't think anyone should be made to feel guilty. Joy and having fun are forms of rest. You're just existing and being present and we need that for our sanity.
Destiny: Yeah, that stress is a killer. I can't be stressed out all the time. That's gonna lead to burnout. That's kind of what the oppressive force wants us to do is just be downtrodden and sad all the time or angry because they know that that burns you out. They don't want to see us enjoying life, even though you have to sometimes.
That reminds me of 2020 during the protests. Social media was very social justice-oriented, filled with infographics. Then someone would post about their birthday, saying "I just turned 21, I'm at the club," and people would respond with "Now's not the time." But we need to do the work and take breaks.
“I can’t be stressed out all the time. That’s gonna lead to burnout. That’s kind of what the oppressive force wants us to do is just be downtrodden and sad all the time or angry because they know that that burns you out. They don’t want to see us enjoying life...”
Bianca: Yeah, absolutely. You need to celebrate life because that in itself is an act of resistance. It's like saying, "I'm still here. I'm still standing." There's nothing wrong with celebrating that. Going back to what you said about being in Baltimore, you moved to Pennsylvania, but then you decided to go back to Baltimore. How would you describe the art scene there?
Destiny: I feel like the art scene in Baltimore is underrated. When people think of Baltimore, they often think of The Wire. I talk to people, even those from Baltimore County surrounding the city, and when I mention going into the city for a show or to be in community with other artists, they express concern about safety. Yes, there's violence in every city, but we have our safe pockets. As long as you respect others, you're generally fine.
Baltimore is underrated and lacks resources. There are many boarded-up homes and infrastructure issues. The community recognizes that the city and Maryland as a whole aren't doing enough to protect them. As a result, the Baltimore community is very tight-knit, coming together because they feel they can rely only on each other.
Bianca: That sense of community among artists is beautiful and admirable. How do you think it's benefited your career as an artist there?
Destiny: It's done a lot for my self-esteem and confidence. As I said, I wasn't very confident as a kid, and I'm still working on it. Being around people who are genuine, where there's not much ego, at least in the area I find myself in, has helped me grow in confidence. I feel like I've become more sure of myself being here.
“The community recognizes that the city and Maryland as a whole aren’t doing enough to protect them. As a result, the Baltimore community is very tight-knit, coming together because they feel they can rely only on each other.”
Bianca: Especially as a Black woman artist navigating the art industry. Do you find there are many other Black women artists you're in community with or collaborate with?
Destiny: There's an artist named Alexis Tyson. She's a curator down here and was actually the first person I worked with for my first official show in Baltimore. We've had a great relationship over the years. There are many women-focused and specifically Black women-focused spaces and shows in Baltimore, so I never feel excluded in the scene at all.
Bianca: What show was that? When was your first time exhibiting, and how was that experience for you?
Destiny: That was in 2021.
Bianca: How did you feel about it? How did the experience go?
Destiny: I'm a very shy person. So being in a space like that where I have to put myself out there is exciting and nerve-wracking. I get anxious thinking about how people will perceive me. But being in a situation where people actually care to talk about my art was empowering. It's like people really care; this is important to them. They notice things in my paintings that I notice too. Before, I was usually just talking to my family, and my mom would say, "Oh, yeah, that's nice," but I wanted more feedback.
Being in an environment where I can dive deep and have meaningful conversations about my work was really nice. It gave me the confidence to think, "Okay, this is really making an impact; people feel something when they look at my work," and that made me feel really confident.
Bianca: Yeah, of course, and I think that's exposure therapy. The more people you interact with and talk about your art with, the more natural it feels because people really do want to support your art. Hopefully that brings you some comfort. I will say art fairs are crazy; there's going to be a lot of people.
Destiny: This is my first, I'm preparing myself.
Bianca: You'll have a crew with you, so you won't be on your own. It will be great.
When we first met, we talked a lot about accessibility to art, especially art collecting. I enjoy creating experiences for people who are just starting to think about collecting art or wouldn't typically go to exhibits or art fairs. How do you feel about wanting your art to feel accessible to people in your community? Is that something you continue to practice and how do you approach that accessibility?
Destiny: Because the work I do is large in scale, and out of respect for the effort and time I put into it, I understand that the price point can be inaccessible to many people in my community. Therefore, I'm focusing on creating smaller works on paper. For instance, I started the “Black ABCs” project a while back, which has been well received and something I plan to continue. I'm also working on making prints, posters, stickers, T-shirts, and other apparel available—items that are more affordable and accessible to a wider audience.
“I’m a very shy person. So being in a space like that where I have to put myself out there is exciting and nerve-wracking. I get anxious thinking about how people will perceive me. But being in a situation where people actually care to talk about my art was empowering.”
Bianca: Many people struggle with pricing, particularly black artists and women. Studies even show that people are less likely to buy art from women, which creates a disparity. And materials are expensive, especially for large-scale oil paintings like yours. How did you reach a point where you could price your work and understand its true value?
Destiny: It's been a hard journey for me. It's taken me a long time. Even with being in this fair and the price point being what it is, I question myself: "Is it really that good? Am I worth this amount of money?" But my boyfriend has been really supportive, reminding me that I can price it based on how I feel, and I shouldn't feel like I'm charging too much. He's always encouraging me, saying, “You're incredible. You're amazing. You need to believe in yourself. You're going to be big."
Bianca: That's the motto to always have in your head.
Destiny: He's always in my ear: "How much is this? Okay, why is it this much? Don't you think you deserve more money? I feel like you should price it higher." And I'm like, "I still want people to buy it." He's like, "The people who are going to buy, are going to buy."
Bianca: You really do need that sometimes, especially when you're so in your head with your own work. It's hard to see from an outside perspective. So I'm glad that he's there to really push you.
Destiny: Especially since our backgrounds are different. His parents are from Haiti.
Bianca: My mom's Haitian too.
Destiny: So you're aware of the parental ideals, right? Yeah, the first generation coming to America so they were completely unsupportive of his art and all that. So him meeting us and seeing the support that I have from my parents and how he essentially had to build his confidence up from nothing. So now he's been the person to give that to me.
Bianca: I'm really happy to see you in your element and being confident in yourself because I agree with your boyfriend. It's just a matter of meeting more people, getting your art out there and getting more eyes on it.
I would love to hear a bit more about how your art practice has evolved because you've recently made a new piece that is still similar in a way to your style visually, but I feel like it's a little more layered with symbolism. This is A Dream With Eyes Wide Open. Tell me more about how you created this piece and how it's evolved from your past works.
Destiny: I've been collecting imagery and inspiration for my work. I've been looking through family photo albums and archives. So with that in mind, thinking about the preservation of memory and how important it is for us to hold on to these things. My aunt is really into scrapbooking, so she does stickers and has a whole room dedicated to her scrapbooking. Thinking about how there's this whole craft around preserving memory and the excitement of creating new memories, with all the stickers, ribbons, and different embellishments she has, in preparation to create new memories and romanticize them in the future, is something I've been thinking about. Especially with the motif of stars in the eyes, I'm thinking, okay, that's like a sticker. So what other stickers can I add in a scrapbooking way, just layering more and more on top.
Bianca: Wow, that's beautiful. I love this reference to archives, especially in understanding history on a deeper level to reimagine new ways of existing. Your work seems to take historical pieces and breathe new life into them. I really love that.
Destiny: It's like the past connecting with the present and looking towards the future. I alter photographs to bring them into new spaces, envisioning what the future could be. With A Dream with Eyes Wide Open, where I transformed a photo of my mom to create a new idea of the future. It's about merging these elements together.
Bianca: Yeah, I see that. When I saw the piece with your mom, I immediately connected with it. Are you planning to continue exploring this direction? Are there other forms of expression you're interested in, either professionally or personally?
Destiny: Well for now, I'm definitely planning to explore different framing for my work with these scrapbooking elements. It's really energized me and I'm excited about continuing to grow. Whenever I discover something new to add to my art, like when I found the stars, I thought, "This is it, I won't come up with anything better." But now with this new addition, I feel like I'm creating something great again. I always feel like whatever I'm working on right now is the best it's ever going to be, so I'm pushing forward with that mindset.
As for other things I want to explore, I really miss the hands-on experience of working with ceramics. I took a ceramics course in college and loved being on the wheel with clay. I want to get back into that, maybe not professionally, but just for fun.
Bianca: Absolutely, it's great to explore beyond the canvas and to have fun with it. It would be really cool if you incorporated stars into pottery like bowls or plates. That could be really unique and interesting.
Destiny: I've been telling myself for literally two years that I was going to get back into ceramics, but I just haven't carved out the time or resources to really commit to it. But I really want to.
Bianca: It'll come to you once you have the right moment.
Destiny: In due time, it'll come when it's meant to.
Bianca: Going back to not wanting to be perceived and having to navigate an artist's career, especially with social media and press, how are you managing that? How do you ensure people connect with you while respecting your boundaries?
Destiny: I'm an internal person, kind of a hermit. I stay in my studio or house 80% of the time. I don't really go places. But that 20% of the time when I'm out, I'm really outside, connecting with everybody, giving it my all. Then I drain my battery and go back inside.
Bianca: That's real.
Destiny: That's just what it is. I spend weeks loading myself up. When I have a show or event, I'm very much at home, not going anywhere. When there's an event, I give it my all, then go back home. I don't know how sustainable that is, but it's been working for me.
Bianca: That's relatable. We often feel the pressure of constant documentation and showing our process as creatives. Many are moving away from feeling the necessity to always be outside, always doing things. Creative people need time to step away and charge up.
Destiny: The work I create is loud in itself — bright colors, vibrant. I let the work speak. It's the interaction. It's fun, makes you feel good. That's the confident part. I'm just off to the side.
Bianca: Yeah, absolutely. Sometimes you don't need to overcomplicate things or over-explain because you want people to feel what they're going to feel and receive it genuinely.
Who are some creative inspirations for you?
Destiny: My GOAT, the greatest artist of all time for me, is Kerry James Marshall. He's just ‘it’ for me. His color palette, the use of color, and the way he superimposes images on top of a scene with things out of place—I've really taken that from his work. Every time I see his work, I'm like, "This is the greatest thing I've ever seen."
That's who I'm thinking about when I'm creating. I'm inspired by the icon of his work, his consistency, his openness. That's what I aim to mirror when I create stuff.
Bianca: Maybe one day you can meet him, or have you met him before?
Destiny: No, I have not. I'm not a very starstruck person, but I feel like I would lose my mind…
Bianca: I feel like I want that to happen for you though.
Destiny: I would literally fall. It would be crazy.
“I’ve been looking through family photo albums and archives. So with that in mind, thinking about the preservation of memory and how important it is for us to hold on to these things.”
Bianca: Okay, so maybe we'll prepare first so you know it's coming. People say don't meet your idols or whatever, but I think when it comes to creativity, it's always nice to chat and hear someone's perspective.
Destiny: If I could just... I don't even think I would have words if I could just hear him speak to me.
Bianca: We're going to manifest that. So what are you most looking forward to in your career as an artist?
Destiny: Being comfortable in my practice. I feel like I'm getting to a point where I'm really maturing in my practice and feeling more sure of myself. I really want to feel that pure competence in myself, like this is it. Obviously, I want to make money off my work and feel connected to my community and be in museums. Those are lovely ideas, but I don't have grand aspirations like selling for millions. Just making the work that I want to do, that's what I look forward to. Creating the work and having more time and the freedom to make the work.
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Photography by Nabila Wirakusumah
NYALLAH is known for blending elements of neo-soul, R&B, hip-hop, and West African rhythms while exploring themes of self-expansion, transformation, and love. With their latest project, R+B, recorded in phases spanning a near-death bike accident and an eye-opening trip to Costa Rica, R+B navigates relationships, desirability, and self-awareness from a black queer perspective. Through enchanting vocals and vulnerable lyrics, NYALLAH reminds us that desirability is not love and our liberation lies in de-centering ourselves and prioritizing collective care.