BmoreArt

Their relationship is rooted in peace, patience, joy, and faith. From the outside, it may seem like things moved quickly, they got married within a year of meeting each other, but within their partnership, everything has unfolded at its own pace. Both personally and artistically, they allow each other the space to ebb and flow, whether in their creative practices or in the support they give one another. Cheatam reflects on this dynamic, saying, “We allow each other to rest when we need to and grow when we need to. That has helped us grow together.” Early in their marriage, she recalls, “I wasn’t the overachiever I had been when he first met me. I was going hard through grad school and doing the podcast with my friend, but once all that was over, I needed rest. And he was patient through all of it.”

This patience, Flounders agrees, has become a central part of their marriage, and it carries over into their artistic practice. Cheatam might have periods of intense focus on her practice, while Founders works at a more steady, consistent pace, but they respect the rhythms of each other’s process. 

“Some couples have their own interests, and it’s good to be individuals that way,” Flounders reflects. “But we’re not like that. We love doing everything together.” He laughs as he shares how Cheatam recently picked up roller-skating again, a hobby she enjoyed when she was younger, while Flounders has long been passionate about skateboarding. Now, they skate together, something he cherishes deeply. “It’s a blessing,” he says. “I don’t care that we’re attached at the hip—I love it. We get to grow and enjoy things together, and that’s something I’ll never take for granted.”

Their relationship, built on mutual understanding and a deep respect for each other’s backgrounds and creative processes, naturally extends into their work with Islam & Print. Just as they honor the ebb and flow of their individual artistic rhythms, they bring that same flexibility and support into their collaboration. This balance is at the heart of what makes Islam & Print such a successful and meaningful project.

They approach the fellowship with the same patience and care they offer one another. Understanding that each artist in the program has their own pace, strengths, and challenges, Cheatam and Flounders provide the space for growth, allowing fellows to explore their creative paths without the pressure of rigid expectations. “We don’t push anyone to meet arbitrary deadlines or create in a certain way,” Cheatam explains.

“Just like in our marriage, we let things develop naturally.” Flounders adds, “We want our fellows to feel the same sense of support and freedom that we give each other—to experiment, to rest when needed, and to dive in when they’re ready.”

This nurturing environment, rooted in the values they share as a couple, has made Islam & Print not just a fellowship program but a community where artists feel empowered to tell their stories in their own time and way. Cheatam and Flounder’s commitment to honoring individuality—whether in their own partnership or with the artists they mentor—has been key to the program’s success and continues to guide the way they foster artistic expression and growth.

Islam & Print is a project that champions diverse Muslim experiences. What changes do you hope to see in the broader art communities regarding the representation of Muslim identities? Having attended your first show, I sensed a lot of freedom for individuals to speak about their personal ties to Islam and how they interpret it based on their own relationships with their faith. How does this translate into what you hope to achieve with Islam & Print for both the broader community and the specific cohorts involved?

Safiyah Cheatam: What you highlighted from the first show aligns with our goal: to showcase the diverse expressions and relationships people have with Islam. It looks different for everyone, influenced by various cultural backgrounds. It’s essential to remember that Muslims are not a monolith, and neither are Muslim artists. I want to emphasize that there is a growing community of Muslim artists building a network together, each with unique backgrounds that shape our work. While we share this common connection, our art will reflect our diverse experiences.

Dan Flounders: The archiving aspect allows each artist’s work to speak for itself. It’s important to see how being Muslim or growing up in that environment influences people’s artwork. When can you identify that connection to identity in their work? This connection doesn’t always surface in the pieces created through our fellowship, and not all the artists we choose focus on identity in their art, which adds an interesting layer. Our fellowship includes a diverse range of perspectives on what it means to be Muslim—practicing, non-practicing, newly converted, and those who have been reflecting on their identity for a while. We explore cultural practices that may not always align with faith, which makes for rich conversations. 

I want to focus a bit on your individual practices. Safiyah, what drew you to Afrofuturism, and how do you see it influencing your exploration of Black Muslim identities?

SC: That’s a juicy question! What drew me to Afrofuturism? I’ve long been a fan of science fiction, and during my undergraduate studies, I discovered visual artists whose work incorporated Afrofuturist elements. However, there wasn’t a large visual arts community focused on Afrofuturism at the time. So when I went to graduate school, I decided to concentrate on Afrofuturism while also exploring my identity as a Black Muslim.

Afrofuturism resonates with me personally, as I’m passionate about uplifting the work of Black individuals striving for better futures. In grad school, I wanted to find a way to weave these two worlds together, so I began searching for Black Muslims who embodied Afrofuturist ideologies and acted as cultural producers. This aligned with my own needs.

Although I don’t create work as frequently anymore, when I do feel inspired, it’s often because I see a connection between social progress, the upliftment of Black people, and the history of Black Muslims in this country.

Dan, now it is your turn. What drew you to printmaking, and how do you feel it complements your exploration of identity and socio-political themes? 

DF: The short answer is that my skateboard friends and their girlfriends drew me into it. They were mostly older guys, artists, museum workers, sign painters, and their girlfriends were painters, sculptors, and printmakers. I thought that was so cool. My senior year of high school, I got into an art program somehow and they had some screens in the back of the classroom. But I struggled to expose them, and my teacher didn’t really know how to help. I think all the materials were expired, and she just let me try, but nothing ever worked. 

Then, in college, I apprenticed with Kees Holterman at Space 1026, which really deepened my interest. I even found my way into the grad school fabrication lab at my previous college before MICA, where I got more hands-on experience. After that, I returned home and worked under Chaz Hampton at Brick and Mortar in Easton, PA, where I leaned into screen printing.

I believe screen printing is inherently political and can be made pretty accessible. It is rooted in punk culture. It allows artists to share their work without the barriers of expensive fine art pricing. My art reflects my exploration of family dynamics, whiteness, and religion, influenced by figures like Malcolm X and Farrakhan. I’m interested in telling stories about conversion—both to a new identity and a new way of life.

Sitting here in your home, it is very clear you two have impeccable taste. How do you curate and collect artwork? Are there any particular themes or values you want your collection to reflect?

SC: I want to create a nurturing environment, especially for our future children, filled with affirming images and messages of Black people in the arts. It’s important for us to celebrate artists who reflect our values, like Emma Amos and Brittany Tucker, who create meaningful work. We aim to have pieces that uplift our community, featuring our friends’ work, which allows us to connect personally with the art we choose.

For us, it’s not just about collecting art for investment; it’s about living with the work of people we admire and knowing the stories behind each piece. When friends come over, we can proudly say, “Our friend made that,” fostering a sense of community and connection.

DF: Most of our art comes from local artists, like Suldano Abdiruhman, who creates across various mediums. We have a sculpture from Angelique Scott. We cherish pieces from friends like Erin Fostel, Taj Possé, Nate Harris and other artists who have been a part of our journey. 

After we got married, we focused on budgeting, which meant prioritizing how we spend our money. Not drinking alcohol and avoiding typical mid-20s outings really helped us save, allowing us to set aside extra money each year to invest in art pieces we truly admire.

Is there a specific artwork in your collection that is your favorite and holds a meaningful story?

SC: One piece that stands out for us is a print by the incredible Black woman artist, Faith Ringgold. How could we not have it front and center. It’s particularly special because we purchased it collaboratively before we were married; Dan bought the artwork, and I the frame. When we bought this piece it symbolized our commitment to each other, almost like a promise ring. 

You also mentioned furniture being an important aspect of how you approach collecting. What is your approach? 

DF: We love incorporating vintage pieces that reflect good craftsmanship and sustainability. Our dining set, wall unit, and lighting fixtures are all vintage, reinforcing our commitment to quality and reducing waste. We appreciate knowing the history behind our furniture, which adds character to our space.

SC: In terms of style, we aim for a blend of modern and mid-century aesthetics. We enjoy the uniqueness of vintage items, which often have stories of their own. This approach allows us to create a warm and inviting atmosphere that feels personal and meaningful. 

As a couple, what are some important hobbies you like to do together, outside of your creative collaborations? 

DF:  I think we’re very blessed that we’re both appreciators of the art as well as artists, both love to skate, we like having a relaxed time together. We both really love our families and spend a lot of time making sure that we attend the events that are important to making sure that our families know our partners. Somebody a while ago said, “Where have you been?” And my answer was “With my wife, with my family, and at work.” We like doing those things, and it matters to us, especially because we both come from big families. 

SC: I think we got really lucky enjoying the same things. I don’t know if I could have been in a relationship with someone who doesn’t like watching TV as much as I do. I watch so much TV. He watches so much TV on his own too that I get mad when he’s finished something without me.

Support and learn more about how Islam & Print is evolving at their second cohort exhibition, HEIRLOOM, opening this Friday, October 4 at Gallery CA. It’s a chance to explore more closely the stories and works shaping this unique fellowship.