SheROCKS Event

Some artists choose a medium and others choose exploration. Moving fluidly between architecture, visual art, sculpture, and photography, Emily De Lima builds worlds from sketches, discarded materials, and spontaneous ideas. Now based in Queens after graduating from Cornell University’s architecture program, Emily is shaping a practice that refuses limitation and thrives on curiosity. In this Q&A, she shares how experimentation guides her process, why “jack of all trades” feels like a compliment, and how every piece, whether a small collage or a building-scale concept—begins as a prototype with room to grow.

‍Q: You’re a multidisciplinary artist with work spanning architecture, visual art, sculpture, and photography. How do you decide which medium becomes the best for a particular idea or moment?

Emily: Since I’ve never been able to stick to just one medium, I’m constantly experimenting. I like to pick things up and figure out how they work and what they can become. Sometimes an image flashes through my mind and I sketch it out, and those usually turn into paintings. Other times, I just look around wherever I am and see what materials I already have lying around. I love using things considered scraps or trash. I’ll start cutting things out and assembling them, and an idea grows from there.

Everything is a prototype. I’m just trying things out, seeing what works. Smaller pieces become  whole, whether that’s the scale of a painting or a building. They say, “A Jack of all trades is a master of none, but oftentimes better than a master of one.” I think there’s something beautiful about not mastering just one thing—staying curious and letting the process guide where the work goes.

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Q: Much of your practice focuses on origin and cultural sensitivity. How has growing up as a Brazilian woman in America shaped the way you interpret space, material, and narrative?

Emily: I think a lot about humans versus shells. How the outer layers we carry affect how people see us. These shells appear on many scales; in the spaces we occupy, the clothes we wear, even the ways we carry ourselves. Often, they get in the way of us truly seeing each other as human.

I’ve always been a bit of a nerd, but because I didn’t fit the typical visual stereotype, I often felt very “othered” in the spaces I’ve occupied. At Brooklyn Tech, the specialized high school I went to, only 7% of the student body was Hispanic/Latino while I was there, and I was frequently overlooked or stereotyped. At Cornell for university, I was again a minority  and I faced similar assumptions. The way I look has affected how seriously people, especially men, have treated me, and I’ve had to work a lot harder to be heard.

I poured these experiences into creating “EXOTIC!”. This ended up being my first exhibited piece, where I drew a parallel to the Brazilian Spix’s blue macaw. The macaw was targeted for its striking blue color and rarity, making it a prized trophy in the illegal bird trade. It was captured and admired, but rarely understood. Their beauty essentially became their downfall, collectors captured them faster than the population could recover, pushing the species to the edge of extinction. I have often been treated in a similar way, as a shiny object that people want to be seen with, but not listened to.

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Q: Your installation “What We Grow” investigates the lasting effects of colonization across Brazil and the Caribbean. What compelled you to take on this history, and how did the collaboration with Cornelius Tulloch shape the project?

Emily: “What We Grow” really started with an architecture option studio I took at Cornell Tech in 2023. We worked closely with Ena McPherson, a Jamaican woman who was a pioneer in the urban gardening movement in East New York. Getting to know her made me notice how much Brazilian and Jamaican culture overlap. That pushed me into researching how plants, traditions, and knowledge moved through the transatlantic slave trade and ended up forming the worlds we grew up in. The similarities weren’t coincidence, but were the result of people carrying their worlds with them under unimaginable conditions.

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The collaboration with Cornelius Tulloch came naturally out of that. Cornelius was a former student of my professor, Peter Robinson, who’s career path blended art and architecture as I was aspiring to do. Peter saw the overlap in how we both think spatially and visually and encouraged the connection.

I applied to a grant opportunity through my school and was awarded to further the research I began in that studio. This culminated into “What We Grow,” a public installation that took place in Tranquility Farm in Brooklyn, NY.

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Q: When you examine how knowledge is passed through craft and tradition, how do you see your own artistic practice contributing to that lineage of storytelling?

Emily: As times change, so do crafts and traditions. Existing practices are added to and transformed with new ways of making. For me, being Brazilian-American adds another layer to this as I’m constantly mixing influences from my Brazilian heritage with the culture I grew up with here in NYC. I’m particularly interested in how being an artist has also significantly shifted in a digital, hyper-capitalist age. It’s no longer enough to just be a skilled painter, you also have to build a presence, navigate both real-life and digital spaces, and find ways for your work to resonate in an oversaturated market. I want to make work that bridges traditional art and digital platforms.

Right now, I’m working on a short film where I take elements from physical pieces and adapt them for a digital video platform, exploring how craft and storytelling can evolve while still carrying the same lineage of care and knowledge.

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Q: With a background in architecture, how does spatial thinking influence the way you build worlds whether as installations, images, or objects?

Emily: Again, I think of everything as pieces that fit together to form a whole. From the screws that hold a structure together, to the columns that support a building, threads that keep fabric intact, layers of paint on a canvas. Every element matters, and everything connects in ways we don’t always expect. My process of building, testing, and letting the idea dictate its form comes directly from thinking like an architect, even when the work ends up on a flat surface.

Q: What questions are currently guiding your creative direction as you move into this next chapter of artistry?

Emily: I grew up in a very Catholic household and went to Catholic school from pre-K to 8th grade. I was always the kid asking too many questions, and that curiosity wasn’t really encouraged. For a long time, that pushed me to reject religion altogether. Now, I’m in a place where I’m reevaluating a lot of it. I’ve studied bits of different belief systems, and I’ve started building my own understanding of spirituality, one that mixes my appreciation for science with the way I see nature and the universe function.

The questions guiding me now are about how humans create meaning, how we inherit stories, and how we rewrite them. I’m interested in how identity is shaped by the things we’re taught versus the things we discover on our own. Those themes have already started appearing in my recent work, and I think they’ll keep leading me forward.

Rapid fire: One material you could work with forever — go!

Emily: Spray paint! I love the messy drips and how you can play with splatters and flicks. It lets me work fast, and experimentally, but it also forces me to adapt and embrace accidents.

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Q: What are you most excited for audiences to feel or discover when they encounter your work at the March 2026 SheROCKS showcase?

Emily: I’m excited to finally push my way into the art world. I graduated just last May, and since then I’ve been pouring myself into making new work and getting it out there. I’m looking forward to giving the audience a glimpse into my chaotic brain. I have a million ideas and I can’t turn them off.

Makhyli Simpson learned what success looked like before she was old enough to drive. By 15, she had moved to Los Angeles. By 16, she had signed a major record deal. And as a member of Boys World, she reached global audiences, collaborated with major brands, and became a familiar face to millions. But this next chapter is different. In this candid Q&A, Makhyli speaks openly about stepping out on her own, navigating mental health, unlearning industry expectations, and creating music that reflects who she truly is today. What emerges is a portrait of an artist choosing vulnerability, autonomy, and truth — inviting us to witness her evolution in real time.

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With a background in broadcast journalism and years spent documenting high-intensity moments across Washington, DC and beyond, Emily Alff brings a storyteller’s instinct to every shot she composes. Her work spans protests, black-tie events, public celebrations, and intimate portraits, yet the throughline remains her ability to capture connection. In this SheROCKS 2026 Artist Q&A, Emily shares the rituals, experiences, and values that shape her perspective behind the lens.

Q: Your background in broadcast journalism gives you a unique lens on storytelling. How has that shaped the way you approach photography today?

Emily: In my career as a news and video producer, I’ve spent almost a decade learning how to identify what’s important to a story and what value the story itself brings. Those skills make me sharp in the field with my camera. I’m able to quickly react and chase a scene others haven’t seen yet.

Being a producer has also helped me define my own style! I have personal preferences around aesthetics, and that translates into my photography. As a result, I aim to not only capture the moment, but to capture it cinematically. I create what I also enjoy.

Q: You’ve photographed everything from protests to high-society events. What draws you to such a wide spectrum of human experiences, and how do you shift your perspective between them?

Emily: I’m drawn to high energy -- whether that be in a protest, a gala, or a concert. I love the feeling of crowds moving, voices rising, emotions flowing -- it fuels me. But inside that high energy, I always look for the smaller moments that others may have missed: the texture of rain on someone’s cardboard sign, the silhouette of a father and daughter taking a rest from the crowd, the light hitting a pinned sign on a protester’s clothes. In those details, I find photos that show how we’re really human.‍

Q: When you’re documenting a moment in real time, what’s the first thing you look for, the emotion, the composition, or the story unfolding?

Emily: I always look for moments of connection -- what is the relationship between all the elements in my frame, and how does the viewer, in turn, relate to them?

Q: Photography in DC comes with its own rhythm and energy. How does the city influence your creative process or the subjects you’re most drawn to?

Emily: People are often surprised to hear that anyone “actually lives” in DC. As a transplant myself, I can empathize with where they’re coming from. When I moved from Houston in 2019, I really struggled to adjust. To me, the city felt too small, the cars drove too slow, and the people were too stuffy. It took several years for me to really discover and appreciate the city on its own terms. But after nearly four years of living in the District, I’ve seen the resiliency, the strength, and the passion of DC residents -- and I’m drawn towards those kinds of stories. Just as I want to take photographs that show a DC beyond the Capitol, I also want to show how any community moves beyond others’ expectations. As a result, I’m always trying to find the unexpected angle, the interesting perspective to show how people exist in all their realities.

Q: What’s a story you’ve captured recently that stayed with you longer than expected?

This past June, I had the opportunity to photograph New York City’s Dyke March. The protest itself is already deeply moving, but the march ends with a spontaneous topless dance party in Washington Square Park. Every dark moment since, I’ve thought about the queer joy and love in that water fountain. I’m honored to have had the opportunity to see and document dykes so naturally and openly, and I especially hope the photos I capture create a personal connection for any viewer, beyond this specific queer community in New York City.

Q: Your work spans both public and intimate spaces. How do you build trust with subjects whether in the chaos of a protest or one-on-one session?

Emily: When I’m photographing, especially in protests, I try to build trust as quickly as I can: I make deliberate eye contact, I come with curiosity and ask sincere questions, and I actively listen to my subjects. These moments are brief -- I’m often walking backwards with a crowd, and my subject is trying to focus on the march itself -- but it’s important for me to show how seriously I consider each of my frames. Photographers “take” photos, and each image isn’t something we’re owed. I try to make my intentions to document as clear as possible, so that my subjects also feel comfortable while sensing the importance of the moment.

Q: Outside of photography, your love for books, thrifting, and walks through the city feels very observational. How do those personal rituals fuel your artistic eye?

Emily: I’m endlessly fascinated by the stories we just can’t know. When I’m holding a secondhand book or thrifting for a sweater, my imagination races to picture the lives it may have had before it got to me. The feeling motivates me even more to tell stories and to discover the lives of others.

Q: Your portfolio reflects a deep curiosity about people. What do you hope viewers understand or feel when they encounter your images?

Emily: On a daily basis, our screens are flooded with media and images, to an overwhelming extent. I hope viewers of my work see something outside the norm or something unexpected that makes them pause.

Rapid fire: Your camera bag go-to not including your camera?

Sunscreen! I know my limits.

Q: What are you most excited for audiences to experience when they see your work at the March 2026 SheROCKS showcase?

Emily: I want my audience to experience a moment of immersion. In my work, I strive to create images that create the feeling of “being there” for a distant viewer, so I hope each person feels as if they can bear witness to the image.

I’m also excited to experience an audience experiencing my work. Particularly in the digital age, being a photographer means publishing your photos to an internet void, never being able to see how it's received through the other side of the screen. In that way, I’m excited for the chance to participate as a witness myself.

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Steeped in the cosmic energy of the ’70s and the soulful nostalgia of the ’90s, Brianna Chantel Woodard brings a vibrant, time-bending perspective to contemporary storytelling through illustration. Her art is both a tribute to the culture that raised her and a love letter to the people and moments that shaped her. During this Q&A, Brianna opens up about the memories that guide her, the purpose behind her preservation of Black joy, and the powerful ways motion, tradition, and innovation show up in her work.

Q: What continually draws you back to the 70s and 90s, and how do they help you tell modern stories about Black culture and your own lived experience?

Brianna: The ’70s and ’90s were eras that embodied Black expression in its fullest form, through fashion, art, music, and culture. I’m drawn to the vibrant colors and cosmic energy of the ’70s, while the ’90s carry a nostalgic warmth for me as a ’90s baby. My art becomes a visual manifestation of everything that shaped me. When I tap into these eras, I’m revisiting memories, honoring my family, and celebrating the culture that raised me. By blending these aesthetics with contemporary design, I show how timeless our stories truly are.  

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Q: What role does cultural preservation play in your creative process?

Brianna: It’s at the center of everything I do. My work is a love letter to the people and moments that built me. I want my art to hold our joy, our everyday beauty, our small victories — the things that don’t always get documented but deserve to be. Preserving culture, for me, is simply honoring the truth that we’ve always been more than what the world tries to reduce us to.

Q: Can you share a moment when you felt your art truly bridged generations?

Brianna: A moment that showed me my art could bridge generations was when my grandma bought the very first item I ever posted on Etsy—a coffee mug with my retro design of a Black woman with an afro. She was so excited.  Now it’s her favorite cup. Seeing her cherish something I created reminded me how deeply our stories can resonate across time.

Q: How did your adolescence — shaped by isolation and health challenges — influence your art today?

Brianna: Growing up isolated made me pay attention to what most people overlook. I spent a lot of time alone with my imagination, creating worlds I could escape to. That season taught me intentionality, softness, and resilience. Now, when I create, I’m always thinking about how to bring warmth, comfort, and affirmation into the work.

Q: What does motion symbolize for you when representing Black bodies and Black futures?

Brianna: Movement symbolizes freedom and becoming. It reminds me that we’re not fixed — we evolve, we stretch, we rise. I use motion to show our joy, our fluidity, our refusal to be boxed in. For me, capturing Black movement is a way of saying: we are infinite, and the future bends with us.

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Q: What emotions or messages do you hope people carry after experiencing your work?‍

Brianna: I want people to feel seen and celebrated. I hope people walk away with pride in who they are and a reminder that beauty can be found in everyday moments.‍

Q: How do you choose which memories, travels, or references to depict?‍

Brianna: I choose the moments that stick with me. I pay attention to the things that spark emotion. If something feels like it has a story attached to it, I try to honor it visually.

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Q: How do you balance honoring tradition while experimenting with new styles or mediums?‍

Brianna: To me, tradition and innovation can exist in the same breath. I’m constantly exploring new mediums and techniques because I want my work to evolve in a way that mirrors our culture—expansive, layered, and ever-evolving. Honoring tradition grounds me, but it also pushes me to reflect on the present and imagine what comes next.‍

Rapid fire: One retro color palette you could use forever — go!‍

Brianna: Burnt orange, mustard yellow, warm brown, and deep berry!

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Q: What are you most excited for audiences to feel or discover at your March 2026 showcase?‍

Brianna: I’m excited for audiences to see the evolution of my work, but also to feel the heart behind it. If someone walks out feeling inspired, affirmed, or a little more connected to their own story, then I’ve done my job.

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Talent deserves more than recognition, it deserves a stage. We're thrilled to announce our SheROCKS 2026 showcase artists:

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Ainae, Singer/Songwriter

Avanna Duff, Visual Artist

Camille Fleur, Singer/Songwriter

Brianna Chantel Woodard, illustrator

Emily De Lima, Multidisciplinary Artist

Leah Humphrey, Singer/Songwriter

Cybèle, Singer/Songwriter/Composer

Ren Wright, Singer/Musician

Emily Alff, Photographer

Lilo Marz, Spoken Word Poet

Makhyli, Singer/Songwriter

LaTeisha Melvin, Dancer

Tori Carlisle (TzoArt), Visual Artist

FOR IMMEDIATE RELEASE

THE STATE OF FEM ART ANNOUNCES DATES FOR THE 2024 SHEROCKS EVENT, A SHIFT ENCOURAGING ACTION DURING WOMEN'S HISTORY MONTH

Washington, DC - March 5, 2024 - The State of Fem Art (SOFemArt) proudly reveals the dates for its highly anticipated annual SheROCKS event, with a different approach this year. This year’s event will take place on September 27th-28th in the nation’s capital, a shift from the event historically taking place in March. Instead of hosting their event during Women’s History month, SOFemArt is using the month to urge others to resource women in the arts and business by investing into women-owned businesses and artists. 

Founder Timea Faulkner emphasizes the importance of moving beyond women's empowerment into tangible action, as discussed in her recent Forbes interview. “The State of Fem Art believes that we can make true impact by using Women's History Month as a powerful catalyst to encourage the intentional resourcing of the women in business and arts we say we support and admire. The shift in moving the event to a later date serves as a call for brands and organizations to continue to support women by helping them to flourish beyond Women’s History Month.”

The SheROCKS celebration will kick off with SheROCKS HerStory on March 27th, a day dedicated to inspiring talks, moving stories, networking opportunities, and workshops for women in business and the arts. The event will culminate with the SheROCKS signature event and artist showcase on March 28th, featuring live performances, art installations, film screenings, entertainment, networking, shopping, and more.

Building on the success of last year's decade celebration in 2023, the 2024 SheROCKS event promises an even more impactful and immersive experience. Exclusive invite-only events, surprise announcements, and special guests will be unveiled in the lead-up to the main event.

SheROCKS is an inclusive celebration open to everyone enthusiastic about honoring women as cultural curators shaping our world through their contributions to the arts, business, and technology.

For media inquiries, please contact:

press@lovelifemedia.com

About SheROCKS Event

SheROCKS is a signature event by The State of Fem Art for emerging women artists and entrepreneurs. Each year the event showcases women in performing and visual arts while creating ways to accelerate support among women entrepreneurs.

About The State of Fem Art (SOFemArt)

SOFemArt is a community-driven platform committed to amplifying the voices and work of women artists through mentorship, resources, opportunities, funding, and curation. We do this by putting a lens back on raw talent, putting the resources in the hands of artists, and putting the power of amplification back into the hands of fans to work towards a more equitable arts, entertainment, and tech industry.

Connect with The State of Fem Art

• Website: www.sofemart.com
• Social Media: Instagram | Twitter | Facebook

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