In this episode of the Tech in the Arts podcast, AMT Lab staff members Rachel Broughton and Maraika Lumholdt talk with Mikael Owunna, a Nigerian American multi-media artist, filmmaker, and engineer from Pittsburgh, Pennsylvania.

He discusses how technology, as presented in traditional African cosmologies, has influenced his creative practice and shaped his recent works.

Mikael is currently in residence with the Frank Ratchye STUDIO for Creative Inquiry at Carnegie Mellon University.

[trailer] Mikael Owunna : I've been working in the NFT space as well. So I kind of seeking out, you know, every medium I can. So I began in photography, moved into moving images and had a film, digital animation, NFTS. Now sculpture, there's a whole bunch of things going on. But I've been seeking really every medium possible as a way to showcase the multi-dimensional depths of African cosmology and use that as a way to share these divine images everywhere I can.

Rachel Broughton : Welcome to another interview episode of Tech in the Arts, the podcast series on the Arts Management Technology Laboratory at Carnegie Mellon University. My name is Rachel Broughton. I'm the Chief Editor of research and I'm here with Maraika Lumholdt, the host of Tech in the Arts. We are so excited to be talking today with Mikael Owunna, a Nigerian-American multimedia artist, filmmaker, and engineer from Pittsburgh. His work has been exhibited across Africa, Asia, Europe and North America. And he is currently an artist in residence at the studio for Creative Inquiry here at CMU.

Maraika Lumhodlt : Thank you so much for taking time out of your busy schedule to talk to us today. Super excited to talk to you.

Mikael Owunna : It's my pleasure.

Maraika Lumhodlt : I will start off by asking you if you could talk a little bit about your work. And what inspires you your journey as an artist, anything in that realm? We'd love to hear.

Mikael Owunna: Yeah, so, a bit about me. So my name is Mikael Owunna. I'm a queer, Nigerian-American multimedia artist, engineer and filmmaker. Born and raised here in Pittsburgh. And I, my journey into art began with me actually studying biomedical engineering at Duke University. And while I was a freshman at Duke, I was also coming to terms with my sexuality, and thinking about and dealing with the tension between my sexuality and my queerness and my African identity. And during my freshman year, I was actually outed to my family members in Nigeria. And we went back to Nigeria for Christmas. And when we were there, I was actually put through a series of exorcisms due to my sexuality to try to drive the gay devil out of me. And so I came back from my experience, and I was in engineering school. And I actually was spiraling into a lot of depression and anxiety, but didn't really feel like I had a right to exist. And about six months later, I was scheduled to go to Oxford to study for the summer. And one of my friends was like, oh, you know, we should get we should get cameras before we go. And when I picked up the camera, I felt like I found my voice again. And so I kept experimenting with photography, all throughout college.

Then after college, I received a Fulbright scholarship where I was teaching photography and Taiwan to Taiwanese Aboriginal students. And then I came back and I began working on a documentary series on LGBT African immigrants  titled Limitless Africans. And through that project, I began learning about pre-colonial sexuality, pre-colonial identities, and how within traditional African societies, people who would now identify as LGBTQ were seen as being the gatekeepers to the spirit world. And so within that framework, I began thinking a lot about African myth as this resource to think about the art divine origins being this primordial, androgynous blackness, this space that transcends all life and creates the entire universe, which then drew me into my current series using ultraviolet light and fluorescent paints and engineering tools to then illuminate this Divine Cosmic, androgynous blackness.

Rachel Broughton : It seems like it's one almost linear trajectory of your work developing over time into these different projects. You mentioned a little bit about your engineering background in the most recent project, but do you think that it's lent itself in any other ways? Intellectually or like in real time to your work?

Mikael Owunna: Yeah, for sure. I think that it's kind of been split into two buckets. And I think I've seen it develop more and more, as my career has progressed over the last, I mean, I graduated from college 10 years ago. So that's 10 years, yes, 10 years ago. So that's super old. I had some time. And I think one of the ways has been from the technical perspective. So in my work, I now a lot of work that I'm known for is creating these fluorescence celestial bodies. And I do that by actually, I built a camera flash that only transmits ultraviolet light. So that's clearly coming from an engineering background. And then I hand paint the models' bodies with fluorescent paints. And then in total darkness, I clicked on the shutter, and for a fraction of a second, their bodies are eliminated in these cosmic patterns. And so that's a direct way in which I've been using engineering tools within my practice, and it's been extended into move working with moving images with film. And also intellectually, one of the things have been really interesting has been as I've been researching and learning more about traditional African knowledge systems.

One of the parts that's really fascinating is that science, engineering and art were not seen as these separate domains. They were integrated systems of knowledge that were used together with Religion and myth to divinize human consciousness to rise our consciousness to the level of being gods and the divine self. And so from there, I've begun thinking about, you know, my use of engineering with art as actually being in this larger traditions and framework of coming from these African traditional knowledge systems. I think that's the intellectual space that I've been more getting more excited about using engineering towards that end.

Maraika Lumhodlt : That's amazing. I think here at AMT Lab, we love hearing about how art and science can come together. So I think that resonates with a lot of what we're exploring. And in that vein, we're thinking about how science and technology are impacting artistic processes. So we're wondering how you see art, playing a role in imagining new and creative futures and maybe even alternative realities.

Mikael Owunna : Yeah. So I think that art has a really potent role in the way that it affects creates culture. And I think the use of that really comes down to you can see as being like the cosmology of the society, how does society arrange itself. And so for example, in the United States, you can see art being used to reinforce white supremacy. And so you see these degrading images of black people, literally, these images of white divinity that are spread across the entire society, certain cosmology that's being reinforced using art been like in the kind of ancient African societies and if you think about ancient Egypt for example, Kemet, you know it within that framework,  you would walk down the street, and you would see everywhere, images of yourself as a god. And so thinking about that psychic impact, you know, and that framework that's there to actually use artwork inherently, to reinforce this idea that you are a divine being. And so I think that's a way in which, you know, art has that same power today. And so that's why I tried to use my artwork really intentionally to share these divine images for ourselves that can be that can psychically heal a lot of the trauma that we're that we're experiencing today.

Rachel Broughton : So, sort of shifting veins here a little bit. So you've been in the sphere of NFT's recently. Can you talk a little bit about like, what you think the potential is for NFT's for artists and for art collectors, audiences, the public in general?

Mikael Owunna: Yeah, so I've been working in the NFT space, as well. So I kind of seeking out, you know, every medium I can. So I began in photography, moved into moving images and had a film, digital animation and NFTs. Now, sculpture, a whole bunch of things going on. But I have been seeking really every medium possible as a way to showcase the multi-dimensional depths of African cosmology, and use that as a way to share these divine images everywhere I can, you know, I think it's so important that these are shared, these myths are shared, these knowledge systems are shared. And so last year, I was working with a curator, Larry Ossei-Mensah. And we put together as collaboration for Juneteenth, the celebration where we had some in Homewood actually, we had a public garden site in Homewood some on digital billboards across the city, who else did an NFT drop that was surrounding an African myth of origin. And so I began working in NFT space then have now exhibited my NFT's, I'm part of a DAO too like, African artists, and I've exhibited my NFT's, and like Senegal, and Hong Kong, Philippines, Dubai, so it's kind of had its own whole sphere, this whole other market there. And I think that has a lot of opportunities for artists, because I think there's ways in which we can subvert the traditional gallery system model, and also the way in which that royalties are baked into the secondary sales through the blockchain. So it's like, you know, you see many artists today, we have a Kerry James Marshall will have sold a painting for me $10,000 And I was getting resold for a million, he doesn't get anything from that. But through NFT's and blockchain, you're able to still get a portion of the secondary market sales. So I think there's a lot of potential there for artists. I think with everything it comes down to, though, how's the technology used? What's the cosmology? What's the framework behind it?

Maraika Lumhodlt: That's amazing. Nf T's are hot topic here. So we love hearing everyone's perspectives. So you've touched on this a lot, but I'm wondering if you have anything else to expand on how different technologies maybe newer technologies you're experimenting with? How they impact your creative process, specifically, and if they're expanding on how you would typically approach art without them. Yeah, I think it's been really exciting. Kind of talking about how kind of it from that traditional African perspective you know, technology, science, and art  really being integrated together. So I've began with doing a lot of work with ultraviolet light and ultraviolet imaging. I've experimented a bit with infrared, and some different spectral imaging, I've also begun looking into augmented reality. So I think there's ways expanding the practice. And so it's like, I'm kind of like doing the old tiptoes, you know, I can try a little something here, I'll experiment, I'll see if it helps bring the process forward, and then keep iterating from there.

 Rachel Broughton : That's great. So talking about these iterations and How technology develops with your work, a lot of your work is about transcendence are sort of forming new new modes of transcendence. And I'm curious, what role you see technology playing in that transcendence in now and in the future? 

Mikael Owunna: Yeah, I think, I think this is, it's a really interesting question about the role of technology. I am, I've been talking about this idea of cosmology and like, how is what is the what is undergirding the use of the technology, the societal framework, the societal understanding of technology, the silent ending of art, it's one of the things that's been you know, I've done a lot of research on different African myths. And I'm Nigerian, I'm Igbo. And the Igbo myth, there's actually these four world ages. And currently, we're in the age Uga Azi, which is the age of suffering. And within this age, any technology that's developed is used to destroy and to annihilate. And so I think you see that really in the way in which, you know, for example, many research institutions are funded by the Department of Defense Technology companies are working in tandem with department of defense and defense industry. And so you see this really hand in hand with how technology is being developed. But one of the things that's really interesting within the Igbo myth is that even as we live in that, this age, there will be a number of individuals that will come forward, who will be these guides for us to exit this age of suffering, and to enter into a new golden age of unity. And so that comes to, you know, kind of thinking about how do we use the technology? How do we use the artwork, as a way to realign and transform our consciousness as human beings. And by doing so, and I think, a big way is by actually by realigning the use of that and reconnecting it to the way in which he was using these traditional societies like an ancient Egypt, for example, that we can then use it in a way to open up a new world of possibility that brings in the new golden age, because that is what comes next in the in the mythical, mythical understanding of the universe.

Rachel Broughton: So what would that that golden age of unity look like for you?

Mikael Owunna: Yeah, so within the Igbo myth, it's really exciting. Because within that, that's the name age of Uga Aka, where there's no actual differentiation between us and the divine, we actually are these Ethereal Beings that actually move between heaven and earth at will. We have like complete telecommunication, because there's no division between our consciousness with one another. We're all we all are sourced from the same, the same cosmic matter. And so we become these light beings, literally. And so I mean, that's why you see it in a lot of my work, you know, these little these light beings that are really a reflection of who we are, who we are in the past, and who we are becoming as well. So I think that's why the image is also show us a roadmap, and a reflection of ourselves, but also of what that looks like in the coming age.

Maraika Lumhodlt: So something that we've seen you talk about in other interviews, is how the work of the Zanele Muholi's work is inspiring you and their sentiment of Visual Activism is something you've talked about. Can you expand on on what that means to you and how you see it coming into your work?

Mikael Owunna: Yeah. So Zanele is I mean, if people don't know Zanele Muholi's works, Zanele Muholi is a black gender queer artist from South Africa, and Zanele created these incredible portraits in the early like late 2000s, early 2010s, of entitled Faces and Phases, which were all these portraits of black lesbians, trans masculine people in South Africa. And I was so that actually, work was exhibited in 2013 at the Carnegie International

Maraika Lumhodlt: Right down the street! 

Mikael Owunna : Right! And so I had just come back to Pittsburgh, one of my friends was like, oh, let's go to the Carnegie. Let's see the International I was like, what's the what's the International what is going on? But we went to the show, I remember walking up the steps. And I saw this whole wall of images that Zanele had created of these black queer South Africans. And I was like, amazed because in my entire life, I had never seen an image of another queer African person, my whole life. And so I was almost moved to to Here's I mean, so Zanele's is really powerful and really inspired my early work, particularly the  the Limitless African series on LGBT Africans. And Zanele describes themselves as a visual activist. And so, visual activist, there's been a few definitions that's nearly as offered. But one is this idea that of using visual artwork as a mechanism to advance a political agenda. And it's interesting, you know, I understand. And like, I've definitely when I was getting my work, I was really engaging a lot with that idea, thinking about like, identity, politics, etc. It's interesting, too, as I've been learning more about these spaces of mythology, these kind of these ancient traditional knowledge systems. So I now see myself you know, kind of kind of building on that in a different way, and kind of looking into a rendering this of almost this Astro black mythology. And so this is actually a framework that one of my friends offered, Marcus Redd, he also co-directed our film that we did together. And he's also an academic PhD, he wrote this paper on Sun Ra, and Sun Ra has this beautiful poem, Astro Black Mythology. And one of them is this way in which you can use art integrated with science, technology, and religion and myths to transform human consciousness into the divine itself. So I think that's where I've been moving towards more. So with my practice lately.

Rachel Broughton: It's so interesting how I feels like we just are starting to catch up to speed with like, that simple ideology of how all of these things can combine to create a more fluid and like creative process. Like, we're just getting to the point of adding arts into STEM, the whole STEAM thing. Yeah, it's interesting. 

Mikael Owunna : And it's interesting, because it wasn't always like that. It's almost like we like, lost it for like, 1000s of years. And now it's like trying to piece it back together, you know?

Rachel Broughton  So could you talk a little bit about your public art projects and how that's been for you? And being from Pittsburgh?

Mikael Owunna : Yeah, I think public art has been a really exciting new direction for my work. And, you know, I've been talking a lot about the power of Divine images. And if you imagine, I mean, if you actually think about walking down the street, what is it that we see all the time we see maybe like, consumer products, or buy this bag, or buy this thing, or maybe like an advertisement for like, I don't know, like alcohol, I just like it's more like a weight loss pills and all these different things, pigs. And if you think about, for example, Ancient Egypt, and that, so like, there's this temple Apple Simbel, where it's these larger than life, massive images of yourself as a god. And everywhere you go, you see that every single day? Like, how does that transform your consciousness and your idea of your capacity? And so the public art space, I've been thinking about a lot about, you know, Kemet, Ancient Egypt, and how artwork was used in that way. And so I've been able to showcase my work, like I had a, I have a mural right now, on the Pittsburgh Symphony Orchestra, I have ones coming up in Homewood, I have one at the Homewood Everyday Cafe some other ones coming up a number of locations, and also just received a commission from the Andy Warhol Museum for this public art installation that we're creating there next year.

Maraika Lumhodlt: Exciting!

Mikael Owunna : Thank you! But I've been thinking about how using my artwork in those spaces, to vibrationally recalibrate the energy of the space, and to offer these images for people to see something that of divine reflection of themselves as they go about their day. And even if it's that people it's like, because all of these things operate, even on a subconscious level, you know, because it's got, you're constantly seeing the images again, and again and again. And so it's like, you know, even if that's just one light there that can then maybe offer something new for somebody that's been thinking about public artwork, and my expanding use of it

Rachel Broughton : That's great.

Maraika Lumhodlt: So right now you are an artist in residence at the Studio for Creative Inquiry here at Carnegie Mellon. It really exemplifies of what of what we're interested in the Arts Management and Technology Lab. Can you speak a little bit more about what you're working on there?

Mikael Owunna: Yeah. So it's been really amazing. I'm working in, I'm embedded in the experimental capture course, working with Golan Levin and Nica Ross. And it's been a fantastic opportunity to see how my practice is also in a larger conversation, particularly of people who have been using their artwork and using different capture technology. So you know, I use a lot of ultraviolet light, but it's been seeing people using thermal imaging and their work infrared, you know, X rays. So people are doing this really intense like photogrammetry and 3D scans, green screens, I mean, it's like, oh, wow, you know, it really shows the extent of possibility, artistic possibility. And even when you're in like forever, like the fine art space, you know, you're in a museum or this and that, you know, I think you can lose a bit of your pulse, the pulse of all of the new technological developments that can be used to push your artistic practice forward to push your vision forward. And so it's been amazing to learn and just almost be like a sponge just absorb absorbing, like, oh, wow, there's all these new ways to think about my work. There's so many new ways that I can expand these, this divine consciousness around for creating, like, virtual reality experience. I mean, there's so much happening. And it's also been great to see how you know, we start with these prompts, and how all of the students then take it in all these different directions, too. So it's been a really generative space. It's been really exciting. They also now thinking and we're also working in a motion capture studio coming up. So there's a lot of tools in the Studio for Creative Inquiry, and I encourage everybody to go check it out.

Rachel Broughton: Sounds great!

Maraika Lumhodlt :What a cool place.

Rachel Broughton: Yeah, I think these types of tech aren't something that most artists get the chance to be like exposed to off the bat, and you have no idea what the realm of possibilities are even. So that's great.

 Mikael Owunna : Yeah, many artists don't even have access to even know that these tools exist.

 Rachel Broughton : Right, Right.

 Mikael Owunna : And if you actually then go on to like to actually have opportunity to use the tools. I mean, that's a whole other level too. So it's a great place for people to experiment and to play.

 Maraika Lumhodlt : Yeah, I'm not a visual artist, myself. But I will say my definition of what visual art is, has changed so much since learning about what's going on there.

 Mikael Owunna: I really appreciate you sharing, I feel like, I really see my work as an artist as like a divine calling. And so I feel like it's so important that I'm able to articulate for people to be able to get a glimpse of that possibility that we have right now. And I think that there's this divine mandate that we all carry within us, all of us have a divine purpose. And so if I can just, you know, showcase that and help illuminate even just a little bit. I think that's one of my that means the world to me.

 Rachel Broughton: If you want to share what are your upcoming projects? Where are you headed from here artistically?

 Mikael Owunna: Yeah, so there's a few different things that are kind of in the works. Also working with Marcus Redd. We are -- our film that came out last year, we put together a 30 minute experimental dance film shot completely under ultraviolet light that has been touring the country. So we've had screenings from New York to California, you know, Raleigh, and we're continuing to tour the work around the country. So that's that film tour is ongoing. We also are beginning work on a new film too, very early development, but we are wokring on a new film. Live performances are on the way.

Maraika Lumhodlt: very cool.

 Mikael Owunna: Also working on a series of glass sculptures to bring our work into three dimensional spaces for a show in 2024 at the Pittsburgh Glass Center. So stay tuned for that. I have a museum exhibition. So museum exhibition opening, that's going to include my NFT work the film installation experience, opening up the North Carolina Museum of Art in this month in October. Some new public art projects like the one at the Andy Warhol Museum opening next year, too. So other things to stay tuned. If people are curious, they can check out my website. They can sign up for my newsletter, and then also follow me on instagram Mikael Owunna, everywhere.

 Rachel Broughton :So many things happening!

 Maraika Lumhodlt: Well, thank you so much for being here and for speaking with us. What an amazing conversation.

 Mikael Owunna: Thank you so much for having me.

 Maraika Lumhodlt: For everyone listening, you can learn more about Mikael's work at mikaelowunna.com or on socials @MikaelOwunna. Thank you for listening to Tech in the Arts. Be on the lookout for new episodes coming to you very soon. If you found this episode, informative, educational or inspirational, be sure to send this to another arts aficionado in your life. You can let us know what you thought by visiting our website amt-lab.org That's AMT-lab.org. Or you can email us at amtlabcmu@gmail.com. You can follow us on Twitter and Instagram at Tech in the Arts or on Facebook and LinkedIn at Arts Management Technology Lab. We'll see you for the next episode.