Bmore Art Article

Personal, Political, Poignant: ‘Paradise Portals’

by Quentin Gibeau

In the recent movie Sinners there is a surprising scene that happens in the middle of the film by Ryan Coogler, in which the narrative falls away and it’s suddenly a music video. One of the film’s protagonists, Sammie, a blues musician, starts playing a song to get the opening night of the Juke Joint underway.

What happens next for the viewer is something that may seem familiar to many musicians—the character transcends space and time. The viewer sees how his creative output ties both to the traditions and expressions of his ancestors, and the many forms of music that will be birthed from blues in the years to come.

It’s a powerful but somewhat abrupt moment, a startling visualization of a thought that occurs to most creative people at one point or another. This kind of transcendent idea becomes embedded as you continue your creative practice—the love of artistic practice is a link to practitioners in the past and the future, and you become part of a lineage. This one scene makes it clear how an act of creativity encompasses time travel and legacy.

There is a similar kind of lineage unfolding right now at Area 405 in the Station North Arts District. Paradise Portals is a 7-channel multimedia video installation and performance series which opened May 9, 2025 and runs until June 13, the culminating exhibition for a Rubys Grant-funded project spearheaded by Baltimore artist Red Rae, who acted as curator and director.

The exhibition features installations of videography from both Arit Emmanuela Etukudo and Red Rae, with editing from Rae. These videos are projected on different stretched “portal” shaped screens throughout the gallery, installed free floating and away from the gallery walls.