One out of three women have been or will be victims/survivors of sexual assault. I am one. It’s an experience I never want for my daughter. There are daily challenges. While at a club, she is audibly assaulted by music that advocates her rape. The media constantly presents images inferring that her only value is her body. Recently, she shared with me the casting call for the movie, Straight Out of Compton. “Mom,” she said, “it’s so racist and sexist.” That same week we visited the Slave Museum in Charleston. While there, we noticed a panel explaining how enslaved persons were rated for value. We were struck by how similar the casting call was to the slave ratings. We wondered at how media and entertainers, perhaps unknowingly, mimic the behaviors and philosophies of the past-from Sarratjie Baartman, known as the Hottentot Venus, who was carted about Europe in the early 1800s and exploited as a curiosity, to the images of Kim Kardashian and Nikki Minaj that mirror Baartman’s objectification; from slavers who felt entitled to use the bodies of enslaved women, to rappers who celebrate the same. She Rises honors the sacred feminine and radiates power, strength and self-determination. The best image I could find for the holiness, beauty, and strength of Black womanhood is my own daughter, Sara, who is the model for these pieces. Visible in each painting are adinkra symbols, tying the familiar sacred imagery of stained glass windows to our African ancestry.