iona rozeal brown (b. 1966) identifies herself as a shapeshifta, a moniker apropos for the artwork she produces: a hybrid of African American and Asian cultures influenced by the globalization of hip hop. In the past two years, iona brown and her paintings have consistently grown in reputation and stature, with features in the New York Times, Art Papers,Elle Magazine and on the A & E cable channel, just to name a few. And in 2004, she has exhibited her paintings throughout the United States a dozen times, either with a group, but primarily solo. brown’s afro-asiatic allegory series is her most renowned, however she continuously creates new paintings, such as her W.O.I.M.S., (weapons of irresponsible mass spending), and the newest incarnation, Bling! propaganda posters. Get her talking about visual art and music, and she gets crunk. In other words, don’t get iona started. Or maybe you should.

Rhea L. Combs: What is currently in your CD changer?
iona rozeal brown: "Musicology, "I love Prince, and have for so long; Mark Farina, "Mushroom Jazz, vol. 4;" I also listen to a house mix I made when I'm walking [my dog] Kaya; Parliament Live; Dr. Buzzard's Original Savannah Band; Ursala Rucker; City of God soundtrack; DJ Rhettmatic, "Exclusive Collection;" and this DC-based group called Pure Light Seed, which is considered alternative soul music.

Your work is obviously influenced by hip hop, hip hop culture, and with the increased popularity your work has recently received, who are some of your favorites? And why.
Chuck D, Mos Def, De La Soul, Tribe Called Quest, the Jungle Brothers, MC Lyte, Slick Rick, and Run DMC. I like some for their consciousness, some for their storytelling skills, and all because I respect their flow.
When did you first become so passionate about hip – hop? (Yeah, in other words, when did you first fall in love with hip hop?)
Soulsonic Force’s "Planet Rock,"and Nucleus’ "Jam on It.” I still have my
original 12" of "Planet Rock.” I really flipped for that high -pitched voice that said, "rockitdownnow," and then faded out. Anyway, the rhythms of the words, "it's the big pow wow," and one of my favorites: "Perfect timin’ when I'm climbin’ I'm a rhymn’ apparatus" That line just blows me away. I also respect different ways to tell the same story, or the way emcees can weave political lyrics [with] those of better days to come.

You are also a DJ - what type of music do you spin? How do you find time to DJ with such a fierce painting schedule?
I like to spin underground hip hop, house, dub and rockers, old school hip hop and R&B, soul, funk, blues, jazz, as well as, Koto, Shamisen Pansori, and Peking Opera. I try to spin when I can, [but] it’s mostly in my studio or at openings.... I’m getting the itch to start branching out and Djing [more often]… I need to spin because as much as I paint, and I love it, it’s just so solitary. And the only time I meet people is when I go to openings, and with my schedule I rarely make it to other people’s openings, and my own are usually part of work.

How do you feel living in the DC area as a visual artist as opposed to living in LA or NYC, where the visual arts community is larger?
NY is a beast, and I have lot of respect for it, but I have no intention of living there. The environment is so city. When I get there I realize that I am from the country. (Laughter) You know, I look around and I realize: I am from the swamp. It may not be Louisiana, but it’s swamp enough for me. And I definitely feel like my body changes when I am in NY. There is a whole different kind of pimp that I have to do, and I just didn’t want to have to live like that all the time….And LA is a whole other thing, an entirely different kind of energy. The only other place I could live is San Francisco, but it’s too expensive.