Tiger Strikes Asteroid New York is pleased to present “Rock, Stone, Steel and Rope” A two-person show featuring the works of Jacquenette Arnette | Jodie Lyn-Kee-Chow. 

Inspired by the Artist’s materials, the title refers to more than Arnette’s steel memories or Lyn-Kee-Chow’s ceramic weaponry. It alludes to the married histories of the Caribbean and the United States. It documents oppression and the remnants of racism and colonialism. Before the subject, the choice of material is weighted and provides the viewer with a conceptual space that asks the viewer to see the multiplicity of meanings behind each artwork. 

Arnette’s metal work makes her personal histories permanent, grounded, real, beyond memory and now burned into matter, casting shadows of their own; the shadows’ memories leave behind. These metallic memorial moments document her experience as a traveler. Her personal freedom of movement sits in contrast with her older bodies of work, mostly landscapes, devoid of people, that look at the beautiful spaces where monsters hung people from trees. Her woven Macrame Trees speak to American History and her family's history of lynching. 

Jodie Lyn-Kee-Chow’s practice is grounded in history. Through performance, sculpture, drawing, and installation, she explores her identity as a woman of predominantly Afro-Jamaican and Hakka Chinese ancestry, retelling the histories of people often ignored or silenced. As someone who immigrated to the U.S. at a young age, she brings an astute and unique perspective on our history and the ripples that we live with. Her ceramic weapons reference historical iron weapons used by colonizers to oppress and murder Indigenous and African peoples in the Americas. She has also crafted several indigenous weapons used for both hunting and defense. The alchemical transformation of iron into clay conceptually parallels the transformation of blood into gold and land. 

Jodie Lyn-Kee-Chow is a Jamaican-American interdisciplinary artist based in NYC whose practice spans drawing, sculpture, & performance with topics addressing feminism, Afro-Jamaican and Chinese identity, folklore, colonialism, & the immigration experience. Her work has been presented at venues including 798 Beijing, China, Queens Museum, NY, Royal West Academy of England, The National Gallery of Jamaica, and Bronx Museum, NY. Lyn-Kee-Chow earned A BFA with honors from New World School of the Arts (University of Florida), FL, and an MFA from Hunter College, CUNY, NY. She is an adjunct professor at the School of Visual Arts (MFA) and, with her recent reconnection to working in ceramics, landed an adjunct position at John Jay College. Lyn-Kee-Chow co-authored Living Histories of Sugar in the Caribbean and & Scotland: Transnationalisms, Performance and Co-creation, a project funded by the Arts and Humanities Research Council and presented in Kingston, JA, & Greenock & Edinburgh in Scotland (2022). Other accolades include Franklin Furnace Fund (2017-18), Culture Push Fellowship for Utopian Practice (2018), Bronx Museum AIM Fellowship (2024), KODA Residency, Governors Island, NY (2023-), Residency Unlimited (2023), Wave Hill Winter Workspace (2022), NYSCA NewYork State Council on the Arts Award (2025), and the inaugural artist fellowship of Triangle Arts (2022). Publications include The New York Times, Hyperallergic, White Hot Magazine, and Artsy. 

Jacquenette Arnette has made it her artistic pursuit to live, work, and observe different areas of the world. Born in San Antonio, Texas, she has worked in Australia, Germany, Japan, San Francisco, Los Angeles, and Miami Beach. Moving to her represents a challenge of communication and allows her to explore ideas surrounding differences, culture, and race in each new community. Ms. Arnette was the Director of Exhibitions and Artist Liaison at the ArtCenter of South/ Florida for three years and taught at the Art Institutes of San Antonio and Northwest Vista College. She was involved in the first Ghetto Biennial in Port-au-Prince, Haiti, in December of 2009. She had a solo exhibition at Texas Lutheran University in August of 2017 and has completed residencies at both the Miami Children’s Museum in Miami, Florida, and the Red Cinder Residency in Kona, Hawaii. Additionally, she participated in DVCAI’s International Cultural Exchanges in Kingston, Jamaica, and San Juan, Puerto Rico, Barbados, Guadeloupe, Suriname, and Antigua. Previously, she made a body of work around the history of lynching in different communities beginning in Sequin, Texas. Currently, she has fostered a new relationship with ironwork. 

Aisha Tandiwe Bell is an interdisciplinary artist. Her Practice is concerned with the traps of race, sex, and class, and the varied ways in which we navigate these traps. This is the second exhibition she has curated as a co-director of the NYC Branch of Tiger Strikes Asteroid, having previously curated for the Thomas Hunter Project space and Weeksville Heritage Center. She considers teaching and curating extensions of her practice.