Ayida-Weddo stands just across the water from the country whose flag she’s draped in, Guyana. She is calm, unmoving, yet full of presence. The positioning is intentional. There’s space between her and the land, but not empty distance. She’s still deeply connected through it. 

The colors are layered with purpose. The sky moves through a mix of warm tones. Red, orange, and pink blend into a surreal yellow and a soft white sun. This warmth is contrasted by a crystalized, cerulean blue sea. I chose these colors intuitively, and halfway through, I realized they mirror the palette of my first-ever painting. That realization felt sacred. It was like something deep inside me already knew what this piece needed. The rest of the colors were added to bring the scene to life. Making it feel emotional and full of breath. 

Ayida-Weddo is a figure from Afrakan folklore, known as the rainbow serpent, a goddess of continuation, water, and divine creation. She carries the symbolism of movement and mothers the sacred connection between realms. The painting reflects her calm yet powerful presence. Her influence reminds me of how spiritual ancestry shows up in everything. 

The title also connects to the history of Guyana, often called the "Land of Many Waters". That name has always echoed something to me. This painting honors the spiritual and literal waters that shape Guyana. Rivers and oceans that hold memories of pain, movement, and displacement. Waters that literally divide, but spiritually connect. It holds stories. It carries life. That’s why I chose to paint myself standing across from the land. I am separated by water, but not disconnected. I am of it, just as Ayida-Weddo is of the water. 

I used canvas paper to build a 3D illusion, something I hadn’t done before in this way. The plants were painted separately and then glued onto the surface. The butterfly was added using the same technique. There was something really grounding about using my hands this way. Building the piece in layers gave me an engaging tactile experience. It let me shape the environment around her like you would tend to a garden or decorate a shrine. 

This is one of the first paintings I had created in over a year, and one of the only recent self-portraits I’ve made. It’s a continuation of my work as an Artist but also a pause, a moment to reflect. I allowed myself to simply be present in where my journey has taken me so far. There is no urgency in this piece. Just a sense of being. That in itself is a kind of healing. The most vulnerable part of this work is tied to my own struggle with cultural identity in relation to Guyana. I have a deep reverence for its rich history and a passion for exploring my roots. But there’s also a tension within me, a feeling of helplessness when it comes to being part of real change in the country I care about. I recognize the need for revival, and I feel it deeply. This painting sits in that tension. It acknowledges it without rushing to resolve it. 

I hope all families apart of the Afrakan Diaspora feel seen in this. I hope they feel proud of our heritage, our resilience, and our collective and individual growth  that has sustained us because of our Ancestors dedication. I want them to feel loved and cherished by all of the souls of our Ancestors throughout the displacement. This piece is a love letter. A reminder that we are still connected. Across water, across time, across life. Jah Rastafari

Copyright 

All artwork, images, and related content are the exclusive copyright of Hannah Joycelyn Abrams. The purchase of an original piece or print does not transfer copyright ownership. No artwork or image may be reproduced, copied, resold, or used for any commercial purpose without the prior written permission of the artist.