Amirah Cunningham‘s Till Death Do Us Part was created while listening to Sonata #6. Exploring Black identity and diaspora, Cunningham’s grooved curves both interrupt and overlap past and present. Typically creating completely black paintings, Cunningham has included different shades in this piece, “I started incorporating color, with skin tones, I think it speaks more to the complexity of what is Black.” The visual weight and heaviness of the piece reflects the musical narrative of the sonata’s interrupted chords and melodies. The grooved shapes are reminiscent of a thumbprint, speaking to the mass-incarceration of Black men and women. The directional movements also represent ocean currents as a reminder of those abducted from their homes and forced into slave labor. Many did not survive the journey from Africa to the United States, their bodies discarded, thrown overboard. Cunningham uses the grooved concrete and black paint to remind us of the countless forgotten laying in the ocean depths and the humanity of a race that has long been oppressed by systemic racism.