CROSS COUNTRY: A VISUAL EXPERIENCE
Cross Country is the introduction of a new sub-genre of music that serves as a cultural and musical bridge. Beyond the music, Cross Country provides common ground correcting what country is for society, the fans and who creates it.
This gallery is composed of BIPOC (Black, Indigenous and people of color) artists to create a visual representation of BRELAND’s debut album titled Cross Country.
It’s time to say the quiet things out loud.
ENTER THE GALLERY
This gallery is composed of BIPOC (Black, Indigenous and people of color) artists to create a visual representation of BRELAND’s debut album titled Cross Country.
It’s time to say the quiet things out loud.
Here For It (feat. Ingrid Andress)
Brette Williamson
United States
Here For It, 2022
Acrylic and Oil on Canvas
48" by 60"
INSPIRATION:
I am honored to have been able to create a painting inspired by BRELAND’s first album track “Here For It.” The story of the song reminded me of my own story meeting my now husband. I was a single mother with some hardship to process, trust to regain, and a new life to navigate when I met my husband. When I expressed my concern with being vulnerable in trusting someone again, talking of my past and sharing my load, he showed up anyways. He listened and was that head for my shoulder. He was and still is, absolutely “Here for it”.
My favorite lyric kept visually tugging at me each time I listened to the song and that is the allusion to the classic Marvin Gaye and Tammi Terrell in the second verse: “You know there ain’t no mountain high, river wide”. I completely loved this Motown insert as it reminds me that the genre of country music is constantly expanding, including, and bridging numerous genres as BRELAND so accurately showcases in his music. I knew immediately that I wanted to showcase a mountain high and a river wide. More than just my favorite lyric, I wanted this piece to show the colorful world we can be opened to when we let someone in.
United States
Here For It, 2022
Acrylic and Oil on Canvas
48" by 60"
INSPIRATION:
I am honored to have been able to create a painting inspired by BRELAND’s first album track “Here For It.” The story of the song reminded me of my own story meeting my now husband. I was a single mother with some hardship to process, trust to regain, and a new life to navigate when I met my husband. When I expressed my concern with being vulnerable in trusting someone again, talking of my past and sharing my load, he showed up anyways. He listened and was that head for my shoulder. He was and still is, absolutely “Here for it”.
My favorite lyric kept visually tugging at me each time I listened to the song and that is the allusion to the classic Marvin Gaye and Tammi Terrell in the second verse: “You know there ain’t no mountain high, river wide”. I completely loved this Motown insert as it reminds me that the genre of country music is constantly expanding, including, and bridging numerous genres as BRELAND so accurately showcases in his music. I knew immediately that I wanted to showcase a mountain high and a river wide. More than just my favorite lyric, I wanted this piece to show the colorful world we can be opened to when we let someone in.
Natural
Meg Jo
United States
Natural, 2022
Acrylic Paint
40”x40”
INSPIRATION:
As an Alabama native “country girl,” I sought to create an image of what being natural means to me. The tall grasses in this painting were inspired by the overgrown fields surrounding my childhood neighborhood. The appearance of the American flag is a common symbol of my paintings, encouraging the audience to expand their notions of love for our country, regardless of demographics or social identity. As the focal point of the painting, the woman is in a position of vulnerability but also comfort—hugging herself in a vast field. The hair of the woman is accentuated to showcase her natural curls. To symbolize my love of nature and sustainability, I included wind turbines on the horizon.
United States
Natural, 2022
Acrylic Paint
40”x40”
INSPIRATION:
As an Alabama native “country girl,” I sought to create an image of what being natural means to me. The tall grasses in this painting were inspired by the overgrown fields surrounding my childhood neighborhood. The appearance of the American flag is a common symbol of my paintings, encouraging the audience to expand their notions of love for our country, regardless of demographics or social identity. As the focal point of the painting, the woman is in a position of vulnerability but also comfort—hugging herself in a vast field. The hair of the woman is accentuated to showcase her natural curls. To symbolize my love of nature and sustainability, I included wind turbines on the horizon.
Cross Country
Shabazz Larkin
United States
“Where I Belong”, 2022
Mixed Media on Stretched Canvas
40”x40”
INSPIRATION:
I ran away from home when I was 17 and I haven’t been back for more than 4 days at a time since. This installation drips of cowrie shells and ceremonial bells, conjuring images of an ancestral home in West Africa.
This inclusion of these ancestral elements is a reach for a history that is there but is not entirely there, underscoring the tension of being a runaway and not really having a place to run away to that feels like home.
I was inspired Breland’s lyric “I won't stop running 'til I find where I belong.” The Lyric taps into this runaway spirit that many of who don’t live, ‘back home,” share. I’ve lived all over the world, from London to Seattle but nothing feels like home unless I’m making a home in myself. My own skin. My mumbled language. My flawed behavior. My glorious behavior. All of it - just as I am. That’s where home is.
United States
“Where I Belong”, 2022
Mixed Media on Stretched Canvas
40”x40”
INSPIRATION:
I ran away from home when I was 17 and I haven’t been back for more than 4 days at a time since. This installation drips of cowrie shells and ceremonial bells, conjuring images of an ancestral home in West Africa.
This inclusion of these ancestral elements is a reach for a history that is there but is not entirely there, underscoring the tension of being a runaway and not really having a place to run away to that feels like home.
I was inspired Breland’s lyric “I won't stop running 'til I find where I belong.” The Lyric taps into this runaway spirit that many of who don’t live, ‘back home,” share. I’ve lived all over the world, from London to Seattle but nothing feels like home unless I’m making a home in myself. My own skin. My mumbled language. My flawed behavior. My glorious behavior. All of it - just as I am. That’s where home is.
Happy Song
Nico ‘PAPI’ Marks
United States
HAPPY SONG, 2022
Acrylic paint, spray paint, acrylic paint stick, acrylic marker on canvas
60” x 48”
INSPIRATION:
Upon listening to BRELAND’s “Happy Song” I instantly thought, I havent heard such a beautiful break up song. For a break up to be such a dark and painful experience this song made it feel so beautiful and bright. Instantly I knew the background and base of this piece had to be yellow. A color that symbolizes sunshine, happiness, and joy. As I played the song on repeat and repeat I began to just let the music take control and this piece was born from a blend of lyrical inspiration and melodic feelings. I’ll now take you through the rest of the piece’s inspiration! The grass at the bottom of the piece symbolizing how we grow from break ups. The open road at the top of the piece symbolizing the future that we have to look forward to even though we leave somebody. Most people will look at that as a empty road or sad break-up metaphor, but that’s exactly why I had the opposite intention. The top right corner has the Lil PAPI characters locking eyes with clouds full. The clouds full symbolize the feeling we have when we are with somebody we love. We feel complete. Then directly to the right we see a heartbreak in the rear view mirror with a radio playing a bunch of different happy songs. The clouds on this side are empty because that’s how we feel after a break up. We still have the joy of life, but the clouds just arent the same, they aren’t filled with that love you share with another. The truck on the bottom right is there, because well this is a mcountry inspired piece and I love trucks. Just felt right. :) The couple to the right are the original Lil PAPI’s but now blue and walking separate ways. Blue is because of the feeling we feel upon a break up. LASTLY, the dashes on the road all symbolize that deep feeling we always have for an ex we love. From right to left: 1 Dash…4 Dashes down the open road…3 Dashes from open road to the end of the piece. This all symbolizes “143” which also stands for “I Love You”.
United States
HAPPY SONG, 2022
Acrylic paint, spray paint, acrylic paint stick, acrylic marker on canvas
60” x 48”
INSPIRATION:
Upon listening to BRELAND’s “Happy Song” I instantly thought, I havent heard such a beautiful break up song. For a break up to be such a dark and painful experience this song made it feel so beautiful and bright. Instantly I knew the background and base of this piece had to be yellow. A color that symbolizes sunshine, happiness, and joy. As I played the song on repeat and repeat I began to just let the music take control and this piece was born from a blend of lyrical inspiration and melodic feelings. I’ll now take you through the rest of the piece’s inspiration! The grass at the bottom of the piece symbolizing how we grow from break ups. The open road at the top of the piece symbolizing the future that we have to look forward to even though we leave somebody. Most people will look at that as a empty road or sad break-up metaphor, but that’s exactly why I had the opposite intention. The top right corner has the Lil PAPI characters locking eyes with clouds full. The clouds full symbolize the feeling we have when we are with somebody we love. We feel complete. Then directly to the right we see a heartbreak in the rear view mirror with a radio playing a bunch of different happy songs. The clouds on this side are empty because that’s how we feel after a break up. We still have the joy of life, but the clouds just arent the same, they aren’t filled with that love you share with another. The truck on the bottom right is there, because well this is a mcountry inspired piece and I love trucks. Just felt right. :) The couple to the right are the original Lil PAPI’s but now blue and walking separate ways. Blue is because of the feeling we feel upon a break up. LASTLY, the dashes on the road all symbolize that deep feeling we always have for an ex we love. From right to left: 1 Dash…4 Dashes down the open road…3 Dashes from open road to the end of the piece. This all symbolizes “143” which also stands for “I Love You”.
Good For You
Aramis Hamer
United States
Good, 2022
Acrylic Paints
36”x36”
United States
Good, 2022
Acrylic Paints
36”x36”
Praise The Lord (feat. Thomas Rhett)
Tyre Grannemann
United States
Praise The Lord, 2022
Photo prints with rear projection
36”x48”
United States
Praise The Lord, 2022
Photo prints with rear projection
36”x48”
Praise The Lord (feat. Thomas Rhett)
Lance Scruggs
United States
High Power, 2022
Acrylic and Oil and other materials on Canvas
65”x86”
United States
High Power, 2022
Acrylic and Oil and other materials on Canvas
65”x86”
For What It’s Worth
Xavier Payne
United States
Catching Tears, 2022
Spray Paint on Canvas
40"x60”
United States
Catching Tears, 2022
Spray Paint on Canvas
40"x60”
Cross Country, The Album
A.J. Thomas of NAPD: Not A Pipe Dream
United States
No Genre: CXC
Functional Integration
4’x5’9”
INSPIRATION:
I wanted to incorporate some milestone moments in Breland’s career through clothing. The inspiration came from the album cover and his first CMA performance at Nissan Stadium as he meshed Carolina and midnight blue perfectly, mixing in earth tones/neutrals with the jeans and boots. We worked with Breland’s stylist, Molly Free, to get our hands on some of his iconic pieces throughout the years and repurpose them together! We’ve cut/distressed the first merch drop - “No Genre” hoodie, attached the Rag and Bone jeans from the “Throw It Back” music video with Keith Urban, applied the DKNY midnight blue shirt from the Opry Next Stage, cut the Zara light blue shirt from his “Cross Country” music video into horses, the green Wrangler Casey Jones set from the CMT Red Carpet was used as the base, his favorite Rag and Bone boots and incorporated his favorite Ksubi black jeans all over the piece! Everything is hand sewn with the help of Bella Bouma of NAPD: Not A Pipe Dream to give this the most authentic touch. The mannequin is outfitted in our NAPD: Not A Pipe Dream custom houndstooth print - every detail applied by hand. This fully functional outfit took roughly 4 days to put together listening to the debut album “Cross Country” (especially ‘Alone At The Ranch’) the entire duration.
~ With Love,
A.J. of NAPD: Not A Pipe Dream
United States
No Genre: CXC
Functional Integration
4’x5’9”
INSPIRATION:
I wanted to incorporate some milestone moments in Breland’s career through clothing. The inspiration came from the album cover and his first CMA performance at Nissan Stadium as he meshed Carolina and midnight blue perfectly, mixing in earth tones/neutrals with the jeans and boots. We worked with Breland’s stylist, Molly Free, to get our hands on some of his iconic pieces throughout the years and repurpose them together! We’ve cut/distressed the first merch drop - “No Genre” hoodie, attached the Rag and Bone jeans from the “Throw It Back” music video with Keith Urban, applied the DKNY midnight blue shirt from the Opry Next Stage, cut the Zara light blue shirt from his “Cross Country” music video into horses, the green Wrangler Casey Jones set from the CMT Red Carpet was used as the base, his favorite Rag and Bone boots and incorporated his favorite Ksubi black jeans all over the piece! Everything is hand sewn with the help of Bella Bouma of NAPD: Not A Pipe Dream to give this the most authentic touch. The mannequin is outfitted in our NAPD: Not A Pipe Dream custom houndstooth print - every detail applied by hand. This fully functional outfit took roughly 4 days to put together listening to the debut album “Cross Country” (especially ‘Alone At The Ranch’) the entire duration.
~ With Love,
A.J. of NAPD: Not A Pipe Dream
County Line
Alaysia Jetter
United States
Garden of Tranquility, 2022
Garden of Tranquility
Photo shot by: Eke Rysdauletov
42”x 46”
INSPIRATION:
When listening to the track “County Line,” it gave me the feeling of "summer time, fun time." It is a carefree, “let’s have fun” track that put me back into the mindset of Summer 2016 also known as one of the last times I truly had “fun.” For this piece, I wanted the subject to look as worry-free as possible but still lively in a way. Because of the summer type of feel the track gives off, I wanted to contrast it by using cool colors throughout the piece. For me a fairy garden felt peaceful, yet still fun/intriguing if it were me as the subject.
United States
Garden of Tranquility, 2022
Garden of Tranquility
Photo shot by: Eke Rysdauletov
42”x 46”
INSPIRATION:
When listening to the track “County Line,” it gave me the feeling of "summer time, fun time." It is a carefree, “let’s have fun” track that put me back into the mindset of Summer 2016 also known as one of the last times I truly had “fun.” For this piece, I wanted the subject to look as worry-free as possible but still lively in a way. Because of the summer type of feel the track gives off, I wanted to contrast it by using cool colors throughout the piece. For me a fairy garden felt peaceful, yet still fun/intriguing if it were me as the subject.
Throw It Back (feat. Keith Urban)
Brianna Pippens
United States
Throw It Back, 2022
Canvas Print
40”x52”
United States
Throw It Back, 2022
Canvas Print
40”x52”
Growing Pains
Fredesha Rolle
The Bahamas
Bimini Blue, 2022
Digital in Procreate on archival matte paper
41”x41”
The Bahamas
Bimini Blue, 2022
Digital in Procreate on archival matte paper
41”x41”
Don’t Look At Me
Marcus Maddox
United States
Amanda No. 4, 2022
Archival Pigment Print (Ed. 1 of 3)
40” x 50”
Marcus Maddox
United States
Portrait of a Stylist (Jessica Willis), 2021 Archival Pigment Print (Ed. 1 of 3)
40” x 60”
Marcus Maddox
United States
Awaken My Friend, 2018 Archival Pigment Print (Ed. 1 of 3)
40” x 50”
INSPIRATION:
These large scale works are from a series called “Figures of Color” which aim to translate the style of contemporary figurative painting into the more realistic medium of photography.
I’ve selected a triptych of photographs that are just as much about “seeing” as the song “Don’t Look At Me” by BRELAND. In this triptych, viewers can see a series of intimately personal looks from stark black figures; starting with Amanda, who is seated comfortably on her couch in her apartment. She looks to her right at the towering portrait of Jessica Willis, the style director of The Cut. Jessica looks at the viewer with a piercing, royal-like stare, seated by the window of her home. Next is Hums, photographed on a blue couch surrounded by solid colors. His eyes are finally closed, cutting off the gaze of this brief, but powerful sequence.
These works present black subjects in a personal setting, marked by a precise fine art style. The hard edge painting sensibilities of the 20th century meet an important contemporary subject.
United States
Amanda No. 4, 2022
Archival Pigment Print (Ed. 1 of 3)
40” x 50”
Marcus Maddox
United States
Portrait of a Stylist (Jessica Willis), 2021 Archival Pigment Print (Ed. 1 of 3)
40” x 60”
Marcus Maddox
United States
Awaken My Friend, 2018 Archival Pigment Print (Ed. 1 of 3)
40” x 50”
INSPIRATION:
These large scale works are from a series called “Figures of Color” which aim to translate the style of contemporary figurative painting into the more realistic medium of photography.
I’ve selected a triptych of photographs that are just as much about “seeing” as the song “Don’t Look At Me” by BRELAND. In this triptych, viewers can see a series of intimately personal looks from stark black figures; starting with Amanda, who is seated comfortably on her couch in her apartment. She looks to her right at the towering portrait of Jessica Willis, the style director of The Cut. Jessica looks at the viewer with a piercing, royal-like stare, seated by the window of her home. Next is Hums, photographed on a blue couch surrounded by solid colors. His eyes are finally closed, cutting off the gaze of this brief, but powerful sequence.
These works present black subjects in a personal setting, marked by a precise fine art style. The hard edge painting sensibilities of the 20th century meet an important contemporary subject.
Alone At The Ranch
Joshua Black
United States
Alone At The Ranch, 2022
Acrylic on Canvas
36”x48”
INSPIRATION:
Sometimes life moves fast. Almost too fast. Days, weeks, and months fade away into the past without us even noticing. It’s important to slow down and be present in the moment and to be grateful for our breath, our surroundings, our partner. Unplug from your work. Making money is important, but so is making love.
United States
Alone At The Ranch, 2022
Acrylic on Canvas
36”x48”
INSPIRATION:
Sometimes life moves fast. Almost too fast. Days, weeks, and months fade away into the past without us even noticing. It’s important to slow down and be present in the moment and to be grateful for our breath, our surroundings, our partner. Unplug from your work. Making money is important, but so is making love.
Here For It (feat. Ingrid Andress)
Brette Williamson
United States
Here For It, 2022
Acrylic and Oil on Canvas
48" by 60"
INSPIRATION:
I am honored to have been able to create a painting inspired by BRELAND’s first album track “Here For It.” The story of the song reminded me of my own story meeting my now husband. I was a single mother with some hardship to process, trust to regain, and a new life to navigate when I met my husband. When I expressed my concern with being vulnerable in trusting someone again, talking of my past and sharing my load, he showed up anyways. He listened and was that head for my shoulder. He was and still is, absolutely “Here for it”.
My favorite lyric kept visually tugging at me each time I listened to the song and that is the allusion to the classic Marvin Gaye and Tammi Terrell in the second verse: “You know there ain’t no mountain high, river wide”. I completely loved this Motown insert as it reminds me that the genre of country music is constantly expanding, including, and bridging numerous genres as BRELAND so accurately showcases in his music. I knew immediately that I wanted to showcase a mountain high and a river wide. More than just my favorite lyric, I wanted this piece to show the colorful world we can be opened to when we let someone in.
United States
Here For It, 2022
Acrylic and Oil on Canvas
48" by 60"
INSPIRATION:
I am honored to have been able to create a painting inspired by BRELAND’s first album track “Here For It.” The story of the song reminded me of my own story meeting my now husband. I was a single mother with some hardship to process, trust to regain, and a new life to navigate when I met my husband. When I expressed my concern with being vulnerable in trusting someone again, talking of my past and sharing my load, he showed up anyways. He listened and was that head for my shoulder. He was and still is, absolutely “Here for it”.
My favorite lyric kept visually tugging at me each time I listened to the song and that is the allusion to the classic Marvin Gaye and Tammi Terrell in the second verse: “You know there ain’t no mountain high, river wide”. I completely loved this Motown insert as it reminds me that the genre of country music is constantly expanding, including, and bridging numerous genres as BRELAND so accurately showcases in his music. I knew immediately that I wanted to showcase a mountain high and a river wide. More than just my favorite lyric, I wanted this piece to show the colorful world we can be opened to when we let someone in.
Natural
Meg Jo
United States
Natural, 2022
Acrylic Paint
40”x40”
INSPIRATION:
As an Alabama native “country girl,” I sought to create an image of what being natural means to me. The tall grasses in this painting were inspired by the overgrown fields surrounding my childhood neighborhood. The appearance of the American flag is a common symbol of my paintings, encouraging the audience to expand their notions of love for our country, regardless of demographics or social identity. As the focal point of the painting, the woman is in a position of vulnerability but also comfort—hugging herself in a vast field. The hair of the woman is accentuated to showcase her natural curls. To symbolize my love of nature and sustainability, I included wind turbines on the horizon.
United States
Natural, 2022
Acrylic Paint
40”x40”
INSPIRATION:
As an Alabama native “country girl,” I sought to create an image of what being natural means to me. The tall grasses in this painting were inspired by the overgrown fields surrounding my childhood neighborhood. The appearance of the American flag is a common symbol of my paintings, encouraging the audience to expand their notions of love for our country, regardless of demographics or social identity. As the focal point of the painting, the woman is in a position of vulnerability but also comfort—hugging herself in a vast field. The hair of the woman is accentuated to showcase her natural curls. To symbolize my love of nature and sustainability, I included wind turbines on the horizon.
Cross Country
Shabazz Larkin
United States
“Where I Belong”, 2022
Mixed Media on Stretched Canvas
40”x40”
INSPIRATION:
I ran away from home when I was 17 and I haven’t been back for more than 4 days at a time since. This installation drips of cowrie shells and ceremonial bells, conjuring images of an ancestral home in West Africa.
This inclusion of these ancestral elements is a reach for a history that is there but is not entirely there, underscoring the tension of being a runaway and not really having a place to run away to that feels like home.
I was inspired Breland’s lyric “I won't stop running 'til I find where I belong.” The Lyric taps into this runaway spirit that many of who don’t live, ‘back home,” share. I’ve lived all over the world, from London to Seattle but nothing feels like home unless I’m making a home in myself. My own skin. My mumbled language. My flawed behavior. My glorious behavior. All of it - just as I am. That’s where home is.
United States
“Where I Belong”, 2022
Mixed Media on Stretched Canvas
40”x40”
INSPIRATION:
I ran away from home when I was 17 and I haven’t been back for more than 4 days at a time since. This installation drips of cowrie shells and ceremonial bells, conjuring images of an ancestral home in West Africa.
This inclusion of these ancestral elements is a reach for a history that is there but is not entirely there, underscoring the tension of being a runaway and not really having a place to run away to that feels like home.
I was inspired Breland’s lyric “I won't stop running 'til I find where I belong.” The Lyric taps into this runaway spirit that many of who don’t live, ‘back home,” share. I’ve lived all over the world, from London to Seattle but nothing feels like home unless I’m making a home in myself. My own skin. My mumbled language. My flawed behavior. My glorious behavior. All of it - just as I am. That’s where home is.
Happy Song
Nico ‘PAPI’ Marks
United States
HAPPY SONG, 2022
Acrylic paint, spray paint, acrylic paint stick, acrylic marker on canvas
60” x 48”
INSPIRATION:
Upon listening to BRELAND’s “Happy Song” I instantly thought, I havent heard such a beautiful break up song. For a break up to be such a dark and painful experience this song made it feel so beautiful and bright. Instantly I knew the background and base of this piece had to be yellow. A color that symbolizes sunshine, happiness, and joy. As I played the song on repeat and repeat I began to just let the music take control and this piece was born from a blend of lyrical inspiration and melodic feelings. I’ll now take you through the rest of the piece’s inspiration! The grass at the bottom of the piece symbolizing how we grow from break ups. The open road at the top of the piece symbolizing the future that we have to look forward to even though we leave somebody. Most people will look at that as a empty road or sad break-up metaphor, but that’s exactly why I had the opposite intention. The top right corner has the Lil PAPI characters locking eyes with clouds full. The clouds full symbolize the feeling we have when we are with somebody we love. We feel complete. Then directly to the right we see a heartbreak in the rear view mirror with a radio playing a bunch of different happy songs. The clouds on this side are empty because that’s how we feel after a break up. We still have the joy of life, but the clouds just arent the same, they aren’t filled with that love you share with another. The truck on the bottom right is there, because well this is a mcountry inspired piece and I love trucks. Just felt right. :) The couple to the right are the original Lil PAPI’s but now blue and walking separate ways. Blue is because of the feeling we feel upon a break up. LASTLY, the dashes on the road all symbolize that deep feeling we always have for an ex we love. From right to left: 1 Dash…4 Dashes down the open road…3 Dashes from open road to the end of the piece. This all symbolizes “143” which also stands for “I Love You”.
United States
HAPPY SONG, 2022
Acrylic paint, spray paint, acrylic paint stick, acrylic marker on canvas
60” x 48”
INSPIRATION:
Upon listening to BRELAND’s “Happy Song” I instantly thought, I havent heard such a beautiful break up song. For a break up to be such a dark and painful experience this song made it feel so beautiful and bright. Instantly I knew the background and base of this piece had to be yellow. A color that symbolizes sunshine, happiness, and joy. As I played the song on repeat and repeat I began to just let the music take control and this piece was born from a blend of lyrical inspiration and melodic feelings. I’ll now take you through the rest of the piece’s inspiration! The grass at the bottom of the piece symbolizing how we grow from break ups. The open road at the top of the piece symbolizing the future that we have to look forward to even though we leave somebody. Most people will look at that as a empty road or sad break-up metaphor, but that’s exactly why I had the opposite intention. The top right corner has the Lil PAPI characters locking eyes with clouds full. The clouds full symbolize the feeling we have when we are with somebody we love. We feel complete. Then directly to the right we see a heartbreak in the rear view mirror with a radio playing a bunch of different happy songs. The clouds on this side are empty because that’s how we feel after a break up. We still have the joy of life, but the clouds just arent the same, they aren’t filled with that love you share with another. The truck on the bottom right is there, because well this is a mcountry inspired piece and I love trucks. Just felt right. :) The couple to the right are the original Lil PAPI’s but now blue and walking separate ways. Blue is because of the feeling we feel upon a break up. LASTLY, the dashes on the road all symbolize that deep feeling we always have for an ex we love. From right to left: 1 Dash…4 Dashes down the open road…3 Dashes from open road to the end of the piece. This all symbolizes “143” which also stands for “I Love You”.
Praise The Lord (feat. Thomas Rhett)
Tyre Grannemann
United States
Praise The Lord, 2022
Photo prints with rear projection
36”x48”
United States
Praise The Lord, 2022
Photo prints with rear projection
36”x48”
Praise The Lord (feat. Thomas Rhett)
Lance Scruggs
United States
High Power, 2022
Acrylic and Oil and other materials on Canvas
65”x86”
United States
High Power, 2022
Acrylic and Oil and other materials on Canvas
65”x86”
For What It’s Worth
Xavier Payne
United States
Catching Tears, 2022
Spray Paint on Canvas
40"x60”
United States
Catching Tears, 2022
Spray Paint on Canvas
40"x60”
Cross Country, The Album
A.J. Thomas of NAPD: Not A Pipe Dream
United States
No Genre: CXC
Functional Integration
4’x5’9”
INSPIRATION:
I wanted to incorporate some milestone moments in Breland’s career through clothing. The inspiration came from the album cover and his first CMA performance at Nissan Stadium as he meshed Carolina and midnight blue perfectly, mixing in earth tones/neutrals with the jeans and boots. We worked with Breland’s stylist, Molly Free, to get our hands on some of his iconic pieces throughout the years and repurpose them together! We’ve cut/distressed the first merch drop - “No Genre” hoodie, attached the Rag and Bone jeans from the “Throw It Back” music video with Keith Urban, applied the DKNY midnight blue shirt from the Opry Next Stage, cut the Zara light blue shirt from his “Cross Country” music video into horses, the green Wrangler Casey Jones set from the CMT Red Carpet was used as the base, his favorite Rag and Bone boots and incorporated his favorite Ksubi black jeans all over the piece! Everything is hand sewn with the help of Bella Bouma of NAPD: Not A Pipe Dream to give this the most authentic touch. The mannequin is outfitted in our NAPD: Not A Pipe Dream custom houndstooth print - every detail applied by hand. This fully functional outfit took roughly 4 days to put together listening to the debut album “Cross Country” (especially ‘Alone At The Ranch’) the entire duration.
~ With Love,
A.J. of NAPD: Not A Pipe Dream
United States
No Genre: CXC
Functional Integration
4’x5’9”
INSPIRATION:
I wanted to incorporate some milestone moments in Breland’s career through clothing. The inspiration came from the album cover and his first CMA performance at Nissan Stadium as he meshed Carolina and midnight blue perfectly, mixing in earth tones/neutrals with the jeans and boots. We worked with Breland’s stylist, Molly Free, to get our hands on some of his iconic pieces throughout the years and repurpose them together! We’ve cut/distressed the first merch drop - “No Genre” hoodie, attached the Rag and Bone jeans from the “Throw It Back” music video with Keith Urban, applied the DKNY midnight blue shirt from the Opry Next Stage, cut the Zara light blue shirt from his “Cross Country” music video into horses, the green Wrangler Casey Jones set from the CMT Red Carpet was used as the base, his favorite Rag and Bone boots and incorporated his favorite Ksubi black jeans all over the piece! Everything is hand sewn with the help of Bella Bouma of NAPD: Not A Pipe Dream to give this the most authentic touch. The mannequin is outfitted in our NAPD: Not A Pipe Dream custom houndstooth print - every detail applied by hand. This fully functional outfit took roughly 4 days to put together listening to the debut album “Cross Country” (especially ‘Alone At The Ranch’) the entire duration.
~ With Love,
A.J. of NAPD: Not A Pipe Dream
County Line
Alaysia Jetter
United States
Garden of Tranquility, 2022
Garden of Tranquility
Photo shot by: Eke Rysdauletov
42”x 46”
INSPIRATION:
When listening to the track “County Line,” it gave me the feeling of "summer time, fun time." It is a carefree, “let’s have fun” track that put me back into the mindset of Summer 2016 also known as one of the last times I truly had “fun.” For this piece, I wanted the subject to look as worry-free as possible but still lively in a way. Because of the summer type of feel the track gives off, I wanted to contrast it by using cool colors throughout the piece. For me a fairy garden felt peaceful, yet still fun/intriguing if it were me as the subject.
United States
Garden of Tranquility, 2022
Garden of Tranquility
Photo shot by: Eke Rysdauletov
42”x 46”
INSPIRATION:
When listening to the track “County Line,” it gave me the feeling of "summer time, fun time." It is a carefree, “let’s have fun” track that put me back into the mindset of Summer 2016 also known as one of the last times I truly had “fun.” For this piece, I wanted the subject to look as worry-free as possible but still lively in a way. Because of the summer type of feel the track gives off, I wanted to contrast it by using cool colors throughout the piece. For me a fairy garden felt peaceful, yet still fun/intriguing if it were me as the subject.
Throw It Back (feat. Keith Urban)
Brianna Pippens
United States
Throw It Back, 2022
Canvas Print
40”x52”
United States
Throw It Back, 2022
Canvas Print
40”x52”
Growing Pains
Fredesha Rolle
The Bahamas
Bimini Blue, 2022
Digital in Procreate on archival matte paper
41”x41”
The Bahamas
Bimini Blue, 2022
Digital in Procreate on archival matte paper
41”x41”
Don’t Look At Me
Marcus Maddox
United States
Amanda No. 4, 2022
Archival Pigment Print (Ed. 1 of 3)
40” x 50”
Marcus Maddox
United States
Portrait of a Stylist (Jessica Willis), 2021 Archival Pigment Print (Ed. 1 of 3)
40” x 60”
Marcus Maddox
United States
Awaken My Friend, 2018 Archival Pigment Print (Ed. 1 of 3)
40” x 50”
INSPIRATION:
These large scale works are from a series called “Figures of Color” which aim to translate the style of contemporary figurative painting into the more realistic medium of photography.
I’ve selected a triptych of photographs that are just as much about “seeing” as the song “Don’t Look At Me” by BRELAND. In this triptych, viewers can see a series of intimately personal looks from stark black figures; starting with Amanda, who is seated comfortably on her couch in her apartment. She looks to her right at the towering portrait of Jessica Willis, the style director of The Cut. Jessica looks at the viewer with a piercing, royal-like stare, seated by the window of her home. Next is Hums, photographed on a blue couch surrounded by solid colors. His eyes are finally closed, cutting off the gaze of this brief, but powerful sequence.
These works present black subjects in a personal setting, marked by a precise fine art style. The hard edge painting sensibilities of the 20th century meet an important contemporary subject.
United States
Amanda No. 4, 2022
Archival Pigment Print (Ed. 1 of 3)
40” x 50”
Marcus Maddox
United States
Portrait of a Stylist (Jessica Willis), 2021 Archival Pigment Print (Ed. 1 of 3)
40” x 60”
Marcus Maddox
United States
Awaken My Friend, 2018 Archival Pigment Print (Ed. 1 of 3)
40” x 50”
INSPIRATION:
These large scale works are from a series called “Figures of Color” which aim to translate the style of contemporary figurative painting into the more realistic medium of photography.
I’ve selected a triptych of photographs that are just as much about “seeing” as the song “Don’t Look At Me” by BRELAND. In this triptych, viewers can see a series of intimately personal looks from stark black figures; starting with Amanda, who is seated comfortably on her couch in her apartment. She looks to her right at the towering portrait of Jessica Willis, the style director of The Cut. Jessica looks at the viewer with a piercing, royal-like stare, seated by the window of her home. Next is Hums, photographed on a blue couch surrounded by solid colors. His eyes are finally closed, cutting off the gaze of this brief, but powerful sequence.
These works present black subjects in a personal setting, marked by a precise fine art style. The hard edge painting sensibilities of the 20th century meet an important contemporary subject.
Alone At The Ranch
Joshua Black
United States
Alone At The Ranch, 2022
Acrylic on Canvas
36”x48”
INSPIRATION:
Sometimes life moves fast. Almost too fast. Days, weeks, and months fade away into the past without us even noticing. It’s important to slow down and be present in the moment and to be grateful for our breath, our surroundings, our partner. Unplug from your work. Making money is important, but so is making love.
United States
Alone At The Ranch, 2022
Acrylic on Canvas
36”x48”
INSPIRATION:
Sometimes life moves fast. Almost too fast. Days, weeks, and months fade away into the past without us even noticing. It’s important to slow down and be present in the moment and to be grateful for our breath, our surroundings, our partner. Unplug from your work. Making money is important, but so is making love.
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