A Quote by Shea Hembrey

I'm a contemporary artist with a bit of an unexpected background. I was in my 20s before I ever went to an art museum. I grew up in the middle of nowhere on a dirt road in rural Arkansas, an hour from the nearest movie theater.
I grew up on a dirt road in Maine, and pretty much everybody on that dirt road was related to me, and they were old. And so grumpy.
The museum in D.C. is really a narrative museum - the nature of a people and how you represent that story. Whereas the Studio Museum is really a contemporary art museum that happens to be about the diaspora and a particular body of contemporary artists ignored by the mainstream. The Studio Museum has championed that and brought into the mainstream. So the museums are like brothers, but different.
My computer background is a black and white picture I took of the Niteroi Contemporary Art Museum in Brazil.
I grew up in rural Arkansas, and I'm afraid that begging is not part of our characteristics.
I never thought I would ever be middle-of-the-road anything, much less a middle-of-the-road Christian, but it actually ended up I'm extremely middle of the road.
We grew up in rural Arkansas without any Koreans close by, and when I go to Korea feel out of place.
I grew up in Little Rock, Arkansas, and before the Internet and before everything, just to get anything interesting, you had to go on vacation to San Francisco or something. But I think when you're in the middle of America, you feel very jealous of not just comedy but music that you don't have access to.
My mom had to be resourceful. She grew up dirt poor in rural Louisiana.
I wonder if I could have been here before as I drive up the Roman road the Theater seems familiar - perhaps I headed a legion up that same white road... I passed a chateau in ruins which I possibly helped escalade in the middle ages. There is no proof nor yet any denial. We were, We are, and we will be.
When I was making my debut as an artist, I felt that it was very important that I try to combine the background of my own culture, my people, and the country into the contemporary art world. So that's how I came up with the term 'superflat.'
I was brought up in a very open, rural countryside in the middle of nowhere. There were no cell phones. If your lights went out, you were lit by candlelight for a good four days before they can get to you. And so, my imagination was crazy.
The world of contemporary art has, in a way, exponentially expanded in the last couple of decades, and almost every major city in Europe and Asia and North America has fallen over themselves to have their own contemporary art museum.
In Providence, we didn't have a first-run movie theater. But we did have an indie movie theatre on the Brown campus. That was the theater we'd go to. I think, as highbrow as it sounds, that I grew up on the films.
I grew up on a dirt road with brothers.
I grew up on a bayou. The small town that I lived in was, like, 10 miles from me. I grew up in the middle of nowhere.
I grew up with horses and cattle, running around on dirt hills with this real sense of space. We didn't have neighbours - well, the nearest ones were kilometres away.
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