I recently visited Southern Survey Biennial II at Project Row Houses, one of my favorite places in Houston for thought-provoking art.
Every time I step into this space, I’m reminded of how seamlessly it weaves together community, creativity, and history.
This latest event was no exception.
Southern Survey Biennial II showcased an incredible lineup of artists from across the South, offering a vibrant mix of contemporary works.
Each installation captured the diverse cultures and stories of the region, making it feel like an exploration of Southern identity in all its complexity.
Nic[o] Aziz: “…as evil as bliss.”

The first installation I encountered was Nic[o] Brierre Aziz’s powerful work titled “…as evil as bliss.”

Aziz blended his Haitian roots with elements of the “trap house”—a concept culturally tied to Black and brown communities.

The installation was overwhelming at times, with so many layers of meaning, but it was an appropriate and deeply thought-provoking cultural critique. There was so much to take in that I had to stand still, absorbing it bit by bit.

Aziz uses the trap house as a metaphor to explore themes of commodification, addiction, labor, and the ways certain narratives are constructed and imposed on marginalized communities.

His ability to blend everyday materials with historically charged symbols creates a blur between the mundane and the monstrous, challenging our perceptions of history and pop culture.

Overall, “…as evil as bliss” created a multisensory environment that reimagined histories of labor and economy, while ultimately questioning the existence of the “trap” itself.
Rabeeha Adnan: Purring Table

The next piece I experienced was “Purring Table” by Rabeeha Adnan, an artist whose interdisciplinary work rigorously explores power, language, and social structures.
When I first walked into the room, I have to admit I was a bit confused.
All I saw was a large round table surrounded by a few seats.
I purposely avoided reading the description beforehand because I didn’t want any preconceived notions, but I found myself wondering what the piece was all about.
Thankfully, one of the other patrons sensed my confusion and encouraged me to touch the table.
As soon as my hand connected with the surface, I felt a gentle vibration.
The hum reverberating through the table was calming, almost like a purr, as the sound pulsed through the wood.
The experience was different depending on where you stood or how you touched the table. It felt intimate, grounding, and oddly peaceful.
The vibrations from the table felt like a metaphor for the invisible forces shaping our lives, constantly humming beneath the surface.
What initially seemed simple, a table in a room, quickly became more profound.
Coralina Rodriguez-Meyer: “Arco Kuychi Matriarch Monument”

The next artist I visited was Coralina Rodriguez-Meyer whose installation was Arco Kuychi Matriarch Monument
This installation combines ancestral Andean mythology with contemporary expressions of solidarity across diasporas.
The fertility effigies and the vibrant retablo drew me into a space that felt both sacred and empowering.

Raised by a single mother and a long line of strong matriarchs, I was especially moved by the layers of meaning behind the work,
It celebrates the resilience and strength of matriarchal traditions while also reflecting on the complexities of reproductive health and climate crises in America.
This exhibition resonated deeply with me, particularly because my wife is about to begin her training as a doula, a role that connects so intimately with the themes of care, birth, and preservation that Coralina explores in her work.

While I was there, Rodriguez-Meyer said, “If a male soldier saves 10 people’s lives in war, he’s celebrated for this accomplishment. But no one celebrates the millions of women who bring millions of lives into the world.”
That statement encapsulated the quiet power and endurance of the women who shape our lives, often without recognition.
Vilotte Blue: “We can no longer be silent”

The next artist I encountered during the exhibition was Violette Blue, whose interactive piece, “We can no longer be silent,” explored pressing social issues like femicide using digital technologies to engage the audience.
Femicide, the intentional killing of women or girls because of their gender, is a global crisis that devastates countless communities.
In Bule’s work, viewers were invited to reflect on this tragedy by scanning a QR code and responding to the question, “What would you say about femicide?”
My response, like those of other participants, was projected onto the wall in real-time, turning the gallery space into a powerful collective conversation.
“We have to condemn femicide in all forms. I’ve seen up close the destruction it causes. It must end now.”
from “We can no longer be silent”
This installation left me deeply moved and forced me to consider my role in confronting injustice.
Amy Schissel: “FUTURIOUS”

Amy Schissel’s FUTURIOUS was another captivating installation at the Southern Survey Biennial.
The installation presents a future-driven reality where traditional boundaries blur and the lines between physical and virtual worlds converge.
As someone deeply interested in technology, I found her exploration of cyber mapping and geospatial data fascinating.
Schissel’s hand-drawn maps, layered with digital and traditional cartographical elements, seemed to chart new, boundary-defying terrains.

Her pieces made me reflect on how technology reshapes everything, even our understanding of where we belong.
In Schissel’s “new world,” borders didn’t exist, and her work made me imagine a future where data and digital mapping redefine geography and identity.
It was a reminder that the way we navigate the world—both physically and online—is evolving, and with it, so are we.
Jamire Williams: “Antidote for a Reprobate Mind”

Jamire Williams‘ “Antidote for a Reprobate Mind” was my favorite installation because it transported me back to the small Baptist church that I grew up in.
As soon as I stepped into the space, a wave of nostalgia and emotion swept over me.

I could clearly envision Sunday morning services—the choir swaying, voices rising in harmony, and the preacher stirring souls with his powerful sermons.
What I found most captivating about Williams’ piece is how he seamlessly blends music, performance art, and still-life sculpture into a single, immersive experience.
The textures he creates—through instruments, found objects, and various devices—reflect personal and collective experiences that are familiar to anyone who has been touched by the spirit of a Southern church service.

This installation felt like a spiritual experience, inviting me to reflect on how unseen forces like faith shape our lives.
Martín Wannam’s: “Taste of Our Homeland”

The final installation I experienced was Martín Wannam’s “Taste of Our Homeland, a vibrant and immersive exploration of Central American immigrants in North Carolina and their connection to food.
This piece used video interviews with immigrants who spoke about the fruits and vegetables that reminded them of home, offering a poignant reflection on how food can preserve cultural ties and provide comfort in unfamiliar environments.

The installation featured silicon replicas of fruits and vegetables scattered across the floor, each representing the stories shared in the interviews.
Wannam’s piece was a beautiful reflection on how something as simple as food can serve as a bridge between cultures and generations and offer a sense of home.
Final Thoughts on Southern Survey Biennial II
Southern Survey Biennial II at Project Row Houses was a deeply engaging and thought-provoking exhibition that showcased the diversity of Southern art and the power of creative expression.
Each artist brought their unique perspective to explore themes of identity, memory, migration, and social justice.
The exhibition was a testament to the role that art plays in not only reflecting our experiences but also challenging us to think critically about the world we live in.
Project Row Houses continues to be a vital space for these important conversations, and this exhibition was a powerful reminder of the impact that art can have on our communities.
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Frederick J. Goodall is the Editor-in-Chief of Mocha Man Style, media spokesperson, event host, photographer, and a top social media influencer in Houston, TX. He likes to write about fashion, cars, travel, and health.