Bria Edwards: Reclaiming Black Cowboy Culture Through Art | EBONY
Bria Edwards’ “What We Do, We’ve Always Done” Reclaims Black Equestrian History
The vibrant oil paintings and striking photography of artist Bria Edwards are currently on display at the Julio Fine Arts Gallery at Loyola University Maryland, offering a powerful and intimate look into the often-overlooked history of Black equestrian culture in Maryland. Edwards’ solo exhibition, What We Do, We’ve Always Done, is a culmination of two years of research and candid interviews with Black equestrians, exploring the concept of Black leisure through the lens of cowboy culture.
“Question About Me,” Bria Edwards, 2026. Image: courtesy the artist
A Legacy of Skill and Resilience
The exhibition, which opened February 19, 2026, and runs through March 27, 2026, isn’t simply a visual display; it’s a reclamation of a narrative often absent from mainstream historical accounts. As curator Dr. Lauren Davidson of Museum Nectar Art Consultancy explained, the work highlights the strength and perseverance of Black communities, tracing a lineage from enslaved African Americans forced into skilled horsemanship on plantations to contemporary Black equestrians actively preserving this tradition. This history is particularly relevant in Maryland, where the equestrian tradition runs deep.
Edwards’ inspiration for the exhibition’s title came directly from a conversation with Ray Lockamy, a Black cowboy who, when asked about the inherent connection between Black culture and equestrianism, simply stated, “What we do, we’ve always done.” This phrase resonated deeply with Edwards and became the central theme of her work, encapsulating the enduring nature of this cultural practice. The artist utilizes “heavy body paints, sawdust, and pumice gel” to create vivid textures and bring the stories of these riders to life.
Beyond the Saddle: Exploring Black Leisure
What We Do, We’ve Always Done builds upon Edwards’ previous work, following her critically acclaimed 2023 exhibition, More Time in a Day, at Eaton DC. Both exhibitions share a common thread: an intimate examination of Black leisure and the ways in which Black individuals create space for joy and self-expression. Edwards’ approach is particularly noteworthy because it challenges conventional notions of leisure, highlighting the dedication and labor involved in equestrian pursuits.
“That was something that really struck me because I’ve always been about leisure and what that looked like for our people,” Edwards stated. “And many times, people couldn’t even find the words to define it. Seeing that amount of time and care for something that was outside of yourself, helped me reframe my thinking around it.” The exhibition showcases the extensive preparation required – an hour-long process – simply to mount a horse, emphasizing the commitment and skill involved.
A Serendipitous Discovery and a Growing Movement
Edwards’ journey into the world of Black equestrian culture began somewhat unexpectedly. She stumbled upon the community through a chance encounter with friends who encouraged her to photograph the riders. This initial experience sparked a deeper exploration, leading to numerous conversations and a growing appreciation for the rich traditions and artistry within the community. This growing visibility of Black cowboy culture is a recent phenomenon, gaining prominence over the past decade as more people recognize its historical roots and ongoing significance. Ebony Magazine has recently covered the rise in popularity of this culture.
The Art of Observation and Reclamation
Edwards’ artistic process is characterized by careful observation and a commitment to capturing both the power and grace of her subjects. Her large-scale canvases offer meditative reflections of the riders she encountered, with portraits ranging from raw and unfiltered to serene and reflective. She also incorporates subtle details, such as embroidery and rhinestones, into her work, reflecting the expressive style often found within the Black community. “I want everything to always be subtle because I want it to feel like it’s natural, just like who we are,” Edwards explained.
The exhibition features not only paintings but also striking photography, offering viewers a multi-faceted perspective on this vibrant culture. The photographs serve as the foundation for many of the paintings, demonstrating Edwards’ ability to translate a captured moment into a lasting work of art.
Image: courtesy of the artist
Experiencing the Exhibition
For those interested in learning more, Edwards and Dr. Davidson will host a guided gallery tour of What We Do, We’ve Always Done on March 27 at the Julio Fine Arts Gallery. ArtTable is hosting the event. This tour provides a unique opportunity to engage directly with the artists and gain deeper insights into the exhibition’s themes and artistic process. The Julio Fine Arts Gallery is located at Loyola University Maryland in Baltimore, Maryland.
What We Do, We’ve Always Done is more than just an art exhibition; it’s a powerful statement about the enduring legacy of Black equestrian culture and a celebration of the joy, resilience, and heritage of a community that has often been overlooked. It’s a story that, as Dr. Davidson emphasizes, is essential to a complete understanding of American history.