Tricia Hersey

Trisha, welcome. Oh my goodness. Thank you. I love that good bio read. It's very much like black church, you know, in the black church when the visiting reverend comes and they sit and they read his amazing bio or her bio and the person sits there and they just kind of like take it in. I did that. You did that. Yeah. You're like, OK, thank you. That's beautiful. Thank you.

Trisha, welcome. Oh my goodness. Thank you. I love that good bio read. It's very much like black church, you know, in the black church when the visiting reverend comes and they sit and they read his amazing bio or her bio and the person sits there and they just kind of like take it in. I did that. You did that. Yeah. You're like, OK, thank you. That's beautiful. Thank you.

Trisha, welcome. Oh my goodness. Thank you. I love that good bio read. It's very much like black church, you know, in the black church when the visiting reverend comes and they sit and they read his amazing bio or her bio and the person sits there and they just kind of like take it in. I did that. You did that. Yeah. You're like, OK, thank you. That's beautiful. Thank you.

I'm excited to talk with you guys.

I'm excited to talk with you guys.

I'm excited to talk with you guys.

Yes, you got it. I'm so glad you... Thank you, sister. Yes, it is. Thank you. Because it is deep work. It is. And it also... When I think about the work and me being a performance artist and theater artist, I really did play up the idea of a nap ministry. And like it is in a lot of ways, it's ironic. And I did try to play with the idea of a persona. Like I call myself the nap bishop.

Yes, you got it. I'm so glad you... Thank you, sister. Yes, it is. Thank you. Because it is deep work. It is. And it also... When I think about the work and me being a performance artist and theater artist, I really did play up the idea of a nap ministry. And like it is in a lot of ways, it's ironic. And I did try to play with the idea of a persona. Like I call myself the nap bishop.

Yes, you got it. I'm so glad you... Thank you, sister. Yes, it is. Thank you. Because it is deep work. It is. And it also... When I think about the work and me being a performance artist and theater artist, I really did play up the idea of a nap ministry. And like it is in a lot of ways, it's ironic. And I did try to play with the idea of a persona. Like I call myself the nap bishop.

So it does have this irreverent. playfulness, in your face, guerrilla art, performance ritual vibe to it. And so I lead people in to be like, oh, this is about the nap. This is about naps. Everybody wants to sleep. And this is beautiful, soft nap. And then they get there and I'm ranting about white supremacy and capitalism and trying to burn down both systems. So I'm like, yeah.

So it does have this irreverent. playfulness, in your face, guerrilla art, performance ritual vibe to it. And so I lead people in to be like, oh, this is about the nap. This is about naps. Everybody wants to sleep. And this is beautiful, soft nap. And then they get there and I'm ranting about white supremacy and capitalism and trying to burn down both systems. So I'm like, yeah.

So it does have this irreverent. playfulness, in your face, guerrilla art, performance ritual vibe to it. And so I lead people in to be like, oh, this is about the nap. This is about naps. Everybody wants to sleep. And this is beautiful, soft nap. And then they get there and I'm ranting about white supremacy and capitalism and trying to burn down both systems. So I'm like, yeah.

Have a pillow and then here's your flamethrower to like burn these systems down so we can all live and be free, you know? So I love that it is surprising, the mystery of that. That's what makes it really centered in an art practice.

Have a pillow and then here's your flamethrower to like burn these systems down so we can all live and be free, you know? So I love that it is surprising, the mystery of that. That's what makes it really centered in an art practice.

Have a pillow and then here's your flamethrower to like burn these systems down so we can all live and be free, you know? So I love that it is surprising, the mystery of that. That's what makes it really centered in an art practice.

Can you explain that? Absolutely. Yeah, I think a lot of this work, all of this work is really from a historical lens. You know, I was an archivist in seminary. So when I was in seminary, I was working in the archives on campus at Emory University and

Can you explain that? Absolutely. Yeah, I think a lot of this work, all of this work is really from a historical lens. You know, I was an archivist in seminary. So when I was in seminary, I was working in the archives on campus at Emory University and

Can you explain that? Absolutely. Yeah, I think a lot of this work, all of this work is really from a historical lens. You know, I was an archivist in seminary. So when I was in seminary, I was working in the archives on campus at Emory University and

And so I'm really always been a student of history, a student of culture and trying to figure out and look at things from the lens that it should be looked at, which is a lens of pulling back the veils and moving things back and seeing what's happening. And a lot of people don't know. That capitalism was created on plantations, that it comes right out of the chattel slave system.

And so I'm really always been a student of history, a student of culture and trying to figure out and look at things from the lens that it should be looked at, which is a lens of pulling back the veils and moving things back and seeing what's happening. And a lot of people don't know. That capitalism was created on plantations, that it comes right out of the chattel slave system.