SARASOTA, FLA.- In an ever-changing social landscape, artist Chris Friday finds rest and freedom in her childhood memories filled with quietude, joy and love. These memories — overwhelmingly potent and deeply rooted — inspire her first solo museum exhibition, “Where We Never Grow Old,” on view May 4-Aug. 10 at Sarasota Art Museum of Ringling College of Art and Design. Friday’s multi-disciplinary practice explores memory and nostalgia, revealing their power to preserve community and identity and provide a temporary escape from modern injustices.

“While breathtaking in its exquisite realism, Chris Friday’s art transcends mere representation. With her distinct visual language that evokes awe and serene reflection, she shares intimate stories passed down through generations. Her stunning and moving work invites us to listen, understand and recognize the sources of resilience that sustain life and cultivate enduring freedom: family, faith, love and shared communal experiences,” said Rangsook Yoon, Ph.D., senior curator, Sarasota Art Museum.


Chris Friday (American). Detail image of site-specific installation, “Chris Friday: Where We Never Grow Old,” 2025. Hand-built kiln-fired ceramic, glaze solid gold luster. Courtesy of the artist.

“Where We Never Grow Old” transports visitors to “incorruptible environments,” imagined sanctuaries anchored in nostalgia, family, tradition, spirituality and culture. The centuries-old practice of creating alternate realities for survival, inherent in Black American culture, is the method by which the Black community persevered through slavery and the Civil Rights Movement and remains steadfast despite present-day injustices.

Friday’s monumental, unfixed chalk drawings of Black children resting alongside people whom they hold dear celebrate close family connections. She combines iconography of shared cultural experiences with her own childhood memories to produce scenes that seem to float in space rather than be grounded in any one place or reality.


Chris Friday. "’Not sold in stores,’ Alvastine.” Hand-built, kiln-fired ceramic, glaze, solid gold luster, Courtesy of the artist.

Most of the drawings begin with photographs. By taking the pictures herself, Friday strengthens her personal connection to the image she renders. She then devotes hundreds of hours to complete each monumental chalk drawing, a significant amount of labor required to achieve those moments of rest. The subjects’ youthfulness, frozen in time yet mutable due to their medium, evokes the false comfort of an era unburdened with life’s harsh realities and the potential for that to change at any moment.

“Many of the Miami neighborhoods and places I grew up in and around are being gentrified out of existence. The music has been turned off by noise complaints, the elders are passing away, their houses have been sold and their recipes are lost. Black American traditions, culture and history seem as though it is not being allowed to grow old, as if it is unworthy of protection and preservation,” Friday said.


Chris Friday. “Age of Innocence,” 2025. Hand-built, kiln-fired ceramic, glaze, solid gold luster, Courtesy of the artist.

Friday, best known for her black and white aesthetic, introduces the color gold through ceramic sculptures that represent cultural iconography such as jewelry and food that conjure feelings of nostalgia for the artist. Solid gold luster embellishes mundane, everyday objects, an ode to the tradition of bronzing keepsakes such as baby shoes and an implication of the personal and cultural significance of the object itself. Friday leverages the rich cultural, religious and art historical significance of gold to signify notions of heaven, alchemy, eternal youth and immortality.

“Black culture often functions as both heaven and a haven. We find solace in the Black church and spirituality, in community, music and food. We turn to these things and each other to sustain ourselves as we endeavor to survive, sustain and to memorialize the things we are constantly losing,” Friday said.

Friday says Black culture is often unfairly criticized for being “too young” or “not real,” descriptions used to elevate its perceived flimsiness and diminish its validity. However, her work contradicts this idea and highlights its dynamic nature as a tool of survival.


Chris Friday. “Future Venus in Two Parts (Part 1),” 2025. Chalk on black archival paper, approx. 48 x 154 in. Courtesy of the artist.

“As a culture born from the descendants of enslaved Africans, Black culture is constantly adapting, transforming and reinventing itself,” said Friday. “This perpetual renewal is not a weakness but rather a testament to its resilience as each attempt at oppression forces a rebirth.”

Virginia Shearer, executive director of Sarasota Art Museum, looks forward to the enlightening experiences and enriching discussions that will accompany “Where We Never Grow Old.” As the region’s only museum dedicated to modern and contemporary art, Sarasota Art Museum encourages experimentation that fosters appreciation for art that reflects our time.

“At Sarasota Art Museum, we believe in the power of art to spark dialogue and understanding. ‘Where We Never Grow Old’ offers a poignant examination of rest that invites visitors to reflect on their shared human experiences while also acknowledging unique, community-specific challenges and triumphs,” Shearer said.

Friday’s work has been showcased in numerous group exhibitions nationally and internationally, including “Rest is Power” curated by the Center for Black Visual Culture at New York University (2023) and “The Cartography Project” at the John F. Kennedy Center for the Performing Arts in Washington, D.C. (2022). The Miami-based artist has also received numerous awards, fellowships and grants. In 2023, she was named the South Arts Southern Prize State Fellow for the State of Florida.

“Chris Friday: Where We Never Grow Old” is organized by Sarasota Art Museum of Ringling College of Art and Design and curated by Rangsook Yoon, Ph.D., senior curator, Sarasota Art Museum.

“Chris Friday: Where We Never Grow Old” is made possible, in part, with generous support from Platinum Sponsors Judy and Fred Fiala and Katherine and Frank Martucci, Gold Sponsors Charlotte and John Suhler and Silver Sponsors Marge and Leon Ellin.