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Okeeba Jubalo passionately delivering guidance to his students in a classroom setting, emphasizing key points with illustrative materials. Light has a way of piercing into the spaces that need it most. Within the Westside of Charleston, a spark has been struck—one poised to ignite the creative futures of a new generation. It is a moment brought home by a son of Charleston who earned his stripes, his reputation, and the right to be called a true arts leader and visionary in the high-stakes creative trenches of Atlanta for nearly thirty years. Okeeba Jubalo has returned to his roots, and he isn’t just bringing inspiration; he’s bringing a proven blueprint. Enter Art to HeART, Jubalo’s intensive five-week creative bootcamp designed to bridge the gap between raw talent and real-world execution for students ranging from third graders to college seniors. This isn't just a local arts initiative—it’s a rapidly expanding movement. "This program was engineered to introduce everything I needed as a young, up-and-coming artist who didn't even know these professional avenues existed," Jubalo reflects. "Growing up between Charleston and North Charleston came with a certain detachment from the art world. But art is woven into everything beautiful. For the Lowcountry to rise to a level of national respect in the arts industry we must be intentional about the business of art and teach our creatives how to be world-class professionals. My work in Atlanta and beyond prepared me to serve as a bridge builder for our communities." The Art to HeART initiative offers a parallel yet deeply connected expression of purposeful impact—this time through the lens of youth creativity, emotional development, and visual storytelling. Produced through the strategic collaboration between NobleSol Art Group and Wings for Kids, the foundational program centered students as both creators and storytellers, reinforcing the idea that leadership and voice begin forming long before adulthood. Students enthusiastically engage in a creative collage project. Creative Education as Social-Emotional Development Wings for Kids CEO Julia Rugg underscored how seamlessly the program aligned with the organization’s mission of whole-child development. She shared that the initiative supports youth “with voice and choice, self-awareness of strengths and weaknesses, the opportunity to collaborate and accept feedback, and to persevere through challenges.” She also emphasized the deeper connection between creativity and emotional learning, stating, “Creative education is social emotional learning. It is a hands-on way for kids to practice what they’ve been learning each day at Wings.” Rugg further reflected on the experience, noting, “This experience had a tremendous impact on our students – building their self-confidence, allowing them to explore new talents, and to be empowered with hope and confidence that they can dream anything and have it become a reality.” Program Coordinator Warlon Mack A Student-Centered Approach to Creative Learning At the heart of the initiative, Program Coordinator Warlon Mack emphasized the shift from observation to ownership in the learning process. As he shared, “Students responded with a level of excitement, engagement, and confidence that was honestly powerful to witness.” He further reflected on the structure of the program, noting, “What made this Choice Time experience so impactful was that students were not just passive participants; they were creators, decision-makers, and collaborators. What stood out most about this collaboration with NobleSol Art Group and Okeeba Jubalo was how authentic and culturally connected the experience felt for our students. Representation matters, especially for young people, and having a Black artist and creative leader who understands their experiences and comes from a place of community, creativity, and purpose made a lasting impact.” Visual Storytelling as Emotional Truth That transformation was amplified through the deliberate visual storytelling led by Director of Photography Katrina S. Crawford, whose approach prioritized emotional authenticity over performance. By focusing on candid moments of reflection, excitement, and peer connection, the program's documentation revealed something deeper than art instruction—it captured students discovering their own voices. As she explained her philosophy, “I never wanted the students to feel like they were performing for the camera. The goal was to create imagery that felt natural, immersive, and emotionally true to what they were experiencing in the moment.” She added, “For me, the strongest storytelling happens when people feel seen, safe, and free to simply be themselves.” Katrina Crawford outlines the key components of her lesson plan, describing group activities and goals in a classroom presentation. Representation, Trust, and the Power of Cultural Connection What emerged most clearly from the Art to HeART experience was the power of representation, trust, and culturally grounded mentorship. Under the leadership of Okeeba Jubalo, students engaged with an approach to art that felt accessible, affirming, and reflective of their lived experiences. That connection helped foster trust and engagement, driven by the firm belief that representation matters, especially for young people. Students were able to see leadership and creativity modeled in a way that felt both real and attainable. A Shared Thread of Intentional Impact In many ways, Art to HeART extended the same message echoed throughout the concurrent POW!Her experience: when people are given intentional spaces to show up fully—as professionals, as leaders, or as young creatives—the result is not only engagement, but transformation. Photos by Katrina S. Crawford Photography Kat Brown and Okeeba Jubalo celebrate creativity with the enthusiastic Art To Heart students from Wings For Kids.

The intersection of industry leadership and intentional community building is a rare and powerful space. On May 7, 2026, that space was fully realized at Venture X during the POW!Her Panel, a cornerstone of the 3C Networking Experience. Produced by NobleSol Art Group, this was more than a standard panel discussion; it was a vibrant, multi-sensory demonstration of what happens when professional discipline and collaborative spirit converge in the heart of the Lowcountry. A Modern Arena for Heritage The atmosphere at Venture X was charged with an energy that felt both high-level and deeply personal. From the moment guests entered the sleek, modern coworking environment, it was clear this was not a typical corporate mixer. Hope Rencher, Assistant General Manager of Venture X, noted the immediate impact: "The energy was electric. I was instantly drawn the minute all the women began speaking." Hope Rencher, Assistant General Manager of Venture X The POW!Her of Intention The POW!Her Panel brought together a formidable roster of leaders spanning Arts, Business, Education, Hospitality, Media, Real Estate, and Technology. While their industries varied, a common thread of resilience and unshrinking confidence tied their narratives together. Jessica Vernon, co-host and moderator, emphasized that the intentionality of the crowd set the tone. "It was a small crowd, but everyone who showed up came with intention. That’s the energy you want for a first event in a series. What struck me most was the diversity in the room. Almost every single panelist spoke about recognizing their own gifts and feeling a responsibility to share them with the world," Vernon observed. "It’s powerful to have that many women in one room, all fully owning their potential without feeling the need to humble or shrink themselves." Jessica Vernon (Moderator of The POW!Her Panel) POWHer Guest Lauren Binard Christine Johnson (POW!her Panelist This sentiment was echoed by POW!Her panelist Christine Johnson, who noted that the strength of the collective is the ultimate resource for the individual leader. "I was reminded that we all need each other and are better when we take the time to support each other. Community is everything; we need a central, safe, supportive environment where we can support each other." The Mandate for Community-Led Support Perhaps the most vital realization of the evening was the urgent need to support non-elected community leaders. While public officials have their place, the true fabric of a neighborhood is woven by independent entrepreneurs and organizers. Johnson highlighted the necessity of these "safe spaces" for the entrepreneurial journey: "Being an entrepreneur is challenging, but it is a level of freedom and peace that cannot be bought, so we have to continue to show up for each other. We need platforms to safely share concerns and actively resolve issues." Telissia T. Mack (POW!Her Guest) Excellence in Partnership A production of this magnitude requires a venue that understands the nuances of professional hospitality. The partnership with Venture X proved to be a perfect alignment. As a hub for Park Circle’s innovators, the space provided an environment that matched the high standards of the evening, allowing the "3C" philosophy (Commerce, Connections, and Culture) to truly take root. The impact of this environment extended beyond the stage. Johnson reflected on the lasting connections formed: "Because of the event, I feel comfortable reaching out to the other panelists and audience members because of their warmth and spoken willingness to continue the conversation and support." Chloe Shaw, Sales General Manager of Venture X Katrina Crawford (POW!Her Panelist & Celebrity Photographer) with guests A Message from the Founder For Okeeba Jubalo, founder of the 3C Networking Experience & NobleSol Art Group, the event was a manifestation of a lifelong mission to reclaim the local narrative. "It is very important for me and my team at NobleSol Art Group to continue to build platforms for the community, artists and small businesses," Jubalo stated. "Too often, our elected officials in North Charleston are focused on big business and not on those within the community who elected them to serve. Since returning home, I have made it my focus to be the bridge builder—one who is not loyal to corporations that are tone-deaf to what we really need in North Charleston. Creating this platform for the women leaders within the Lowcountry is an example of what my focus has always been for nearly 30 years and will always be." Kat Brown & Okeeba Jubalo ( Founder of the 3C Network Experience) Looking Ahead The success of the POW!Her Panel serves as a powerful prologue. As Vernon suggested, this is merely step one: "You can't build something lasting without knowing what you're actually working towards and who's in it with you." As the momentum carries forward toward the H.E.A.L (Husbands, Entrepreneurs, Artists and Leaders) panel on June 4, we are reminded that when we invest in local leaders and partner with world-class venues, we don’t just host events—we build legacies.

Okeeba Jubalo ( Photos by Katrina S. Crawford Photography ) Returning home to Charleston in 2021 wasn't a retreat; it was a deployment. Whether it’s through my media platforms , growing small businesses with our branding agency , my documentary series The Long Way Home , our art exhibitions , or standing on a stage at the Charleston Library Society, my mission remains the same: I am here to show that the kid from North Charleston didn't just "make it out"—he came back with the blueprints to build something better for everyone. Being chosen as a featured speaker at CreativeMornings Charleston served as a reminder that when you are intentional about your growth, your reach and your community grow  with you. The work is far from over, but the vision has never been clearer. Okeeba Jubalo & Jessica Verno n ( Photo by Katrina S. Crawford Photography ) On Friday morning, March 27, 2026, as I looked out at the audience at the Charleston Library Society , I was struck by the contrast between that refined room and the raw, quiet house on Ashley Phosphate Road where my childhood shifted forever—33 Stratton Drive. To understand why I am so intentional about my work today, you have to understand the silence that fell over my life when I was only ten years old. That was the year my father, Jessie "Slim" Brown, passed away from lung cancer. In an instant, the world stopped being a playground and became a troublesome weight my narrow shoulders had to learn how to carry. Most kids that age are worried about the next game or a school project; I was suddenly staring at the void left by the man who was supposed to show me how to be a man. Watching his strength fade was a brutal introduction to mortality and responsibility. It didn't just sadden me—it transformed me. I had to raise myself. During those times when I really missed him, the mirror was the only constant reminder that even though my dad was no longer here, he would always be here as long as I was here. Photos by Katrina S. Crawford Photography The Accelerated Path to Manhood   Losing a father at that age doesn't just leave a hole in the family; it forces a child to grow up in the cold, razor-sharp margins of America. Because I was the only boy following two powerhouse sisters, I felt a distinct, internal pressure to step up. I had to develop a level of discipline and self-reliance that most of my peers wouldn't touch for another decade, if at all. On my dad’s deathbed, he told me that I was in charge and I would have to figure it out, come hell or high water. Observation as Survival:  I couldn't ask my father for advice on how to navigate the world, so I became a "silent expert." I watched, I listened, and I decoded the mechanics of respect and hard work on my own. The Weight of the Name:  I realized early that "Slim" wasn't just a nickname; it was a reputation. Carrying that legacy while being bused from North Charleston to Summerville, eventually graduating from Irmo High School, required a level of mental toughness that became the foundation of my professional drive. Turning Pain into Purpose:  That early loss is why I don’t play with time, and I don’t let anyone play with me or my time. I learned at ten years old that tomorrow isn’t a guarantee, so every move I make today—every gallery opening, every mentorship, every word spoken—must have an immediate and lasting impact. Weaponizing the Void   When I talk about "weaponizing the arts," people often think of the finished product. But for me, the "weapon" was forged in the fire of that early grief. I took the discipline I had to learn as a fatherless ten-year-old and applied it to my craft. I didn't just want to create art; I wanted to create a stronghold. A king must have a kingdom, and I wanted a safe space for those who believed in what I believed. Creativity is the answer to the problems within our communities. I used the arts to build the world I wanted my father to see. Every success is a tribute to the man who met my mother in the concrete jungle of New York City and brought us back to the Lowcountry. I am the son of Jessie Brown, and while cancer took his breath, it couldn't take the vision he planted in me. Standing on that stage in the Charleston Library Society, I wasn't just speaking for myself—I was speaking for my community and the boy who had to become a man overnight, proving that even from the deepest loss, you can build a legacy that towers over the city. The morning air was heavy with more than just history; it was heavy with the truth of a journey that spans numerous cities with very different philosophies of success. To understand my work, you have to understand the collision between the "celebrity" I witnessed in Atlanta and the "credibility" I was forged in here in North Charleston. Okeeba Jubalo ( Photo by Katrina S. Crawford Photography ) The Atlanta Illusion: Celebrity vs. Substance   During my nearly thirty years in Atlanta, I saw a recurring pattern. In the "City Too Busy to Hate," there is an intoxicating pressure to chase “celebrity” status. I watched people build entire careers on the appearance of power—chasing the right rooms, the right photos, and the loudest buzz. In that model, elevation is measured by how many people know your name, not necessarily by what you’ve built with your hands. I saw the trap clearly: If your elevation is based on celebrity, you are only as strong as your last trend. I never bought into that model. I didn't move to Atlanta to be "famous"; I moved there to become a master of my craft. While others were curating an image, I was in the trenches at the Art Institute, later at NobleSol Art Group and Young Black Entrepreneur Magazine , obsessing over the mechanics of branding, the strategy of the arts, and the weight of a finished product. The North Charleston Reality: The Power of Proof   The reason I rejected the celebrity model is because I am a product of North Charleston. On Ashley Phosphate Road, you don’t get a pass for talking a good game. Growing up in a community that had to fight for its resources and its respect, I learned a fundamental law of survival: You must be able to do exactly what you speak about. In the Lowcountry, credibility isn't given; it’s earned through repetition and results. If I speak on art, it’s because I’ve spent decades at the canvas and the drafting table. If I speak on community, it’s because I’m building the gardens and the galleries myself. If I speak on legacy, it’s because I’ve lived the cost of losing a father at ten and had to build my own foundation from the dirt up. North Charleston taught me that "Weaponizing the Arts" requires a sharp blade, not just a shiny one. Celebrity is a coat of paint; credibility is the structure of steel and iron underneath. Closing the Circle  Standing in the Charleston Library Society, I wasn't there as a "celebrity" returning from the big city. I was there as a son of Charleston who went away to gain the tools, refused to lose his soul to the glitter of the industry, and came back with my respect and receipts. I don't want to be known for being known. I want to be known for the work that remains when the lights go down—the books, the films, the art, and the institutions that will serve our community long after I’m gone. That is the difference between a moment and a movement.

(Girl Scout Troop 0037) Tanqueray Edwards, Maya Brown, Caroline Wheeler, Sade Clark, & Vivian Pettigrew In the 29405-zip code of North Charleston, the distance between a family and a fresh head of lettuce can feel like an ocean. For those without reliable transportation, a three-mile trek to the nearest Food Lion isn't just an inconvenience, it’s a barrier to health. While neighboring areas like the Peninsula see a steady influx of resources and development, pockets of North Charleston have long been classified as "food deserts," areas where nutritious, fresh food is replaced by the limited, shelf-stable options of convenience stores. But a group of young leaders is refusing to let their community go hungry. Four of the Cadettes of Girl Scout Troop 0037 have spent the past six months moving beyond the traditional badges, setting their sights on a more systemic challenge: food insecurity. Troop members Sade, London, Maya, and Caroline identified food insecurity as a one of the root causes affecting residents in the 29405-zip code of North Charleston. As part of their Silver Award project—the highest honor a Girl Scout Cadette can achieve, these young women have launched a sustainable initiative to bring fresh produce, meats, and dairy directly to the heart of North Charleston. More Than a Project: A Mission of Leadership "These are true future leaders for tomorrow," Ms. Vivian Pettigrew, a veteran Girl Scout leader with over 30 years of experience. Having grown up in North Charleston and raised her own daughters in the organization, she has watched this specific group of sixth to eighth graders evolve into a "phenomenal" team. "To see these girls grow, the thoughts that come out of their minds... sometimes it brings tears to my eyes." The project, titled Feeding 29405 , was born from rigorous research. The scouts identified that while their neighbors might have access to food, they lack access to nutrition . "A food desert to me is an area with low access to nutritious foods," explains one of the scouts. "While they might have access to foods that are not necessarily healthy, they don't have access to fresher foods you’d find at a grocery store. Personally, that’s really sad." The Logistics of Compassion Planning an initiative of this scale is no small feat for a group of teenagers. The scouts spent countless hours after their regular meetings in a dedicated "war room," calculating budgets, sourcing volunteers, and coordinating with the Humanities Foundation to source fresh vegetables, fruits, and meats. The challenge was daunting: How do four young ladies feed 250 people? The answer lay in community partnership. By collaborating with local businesses and fellow scouts, they developed a model for a recurring food giveaway. On April 4th , the troop will host their primary giveaway, but the vision is long-term. This is a sustainable project designed to occur at least twice a year. A Call to the Community The success of Feeding 29405 relies on the very neighbors it seeks to serve. Tanqueray Edwards, a co-leader for the troop, emphasizes that the project is a vehicle for mentorship and collective investment. "It’s important for our girls to get an understanding of what leadership looks like, what giving back looks like, and what building community means—and actively doing that in their own way." The troop is currently seeking community partners to help fuel this mission: • Sponsor a Truck: For $350, a donor can sponsor an entire truck that feeds 250 people. Micro-Donations: Contributions of $15 or $20 go directly toward the cost of sourcing fresh food.  Volunteerism: The troop needs hands on deck the day of the giveaway to package and distribute food. Mayor of North Charleston - Reggie Burgess & Girl Scout Troop 0037 The Power of the Village For the leaders of Troop 0037, this work is personal. Edwards reflects on her own childhood, having lost her father at age 13, and the "cobbled together" mentors —teachers and band directors—who stepped in to support her. By leading these scouts, she and her co-leaders are paying that debt forward, providing a stable environment where young women can tackle the most pressing issues of their time. As the girls prepare for their April 4th giveaway, they aren't just handing out groceries; they are handing out hope and proving that no zip code is too deserted for a new generation of leaders to find a way through. How to Help: • Event Date: April 4 th  beginning at 10AM, until all food is gone • Location: 3950 Azalea Dr, Charleston, SC 29405 Get Involved: Sign up to volunteer, mentor, or donate to sponsor a food truck by emailing  vspettigrew@gmail.com  to ensure this project remains a permanent fixture in North Charleston. GIRL SCOUT 0037 PARTNERS North Charleston Councilwomen Brown Humanities Foundation Low Country Mortuary, LLC   TR Edwards Consultancy - Your AI Ally  Just Taxes Inc.  Mason Lodge  Okeeba Jubalo interviewing Girl Scout Troop 0037

(Image by Sease The Moment Photogra phy) What does it look like when years of intention, discipline, and cultural investment finally align in real time? For Okeeba Jubalo , " Salt: The Dirty Dozen"  was more than a successful exhibition—it affirmed not only his work, but the ecosystem he has cultivated in North Charleston over the past four years. For more than three decades, Jubalo has contributed to the cultural fabric of Atlanta and beyond, building a reputation rooted in both artistic rigor and community-centered practice. His transition to North Charleston required something different: patience. “You’ve got to have a long line of patience and commitment,” he reflected, acknowledging the challenges of building within a space that does not immediately mirror larger cultural hubs like Atlanta or Washington, D.C. What SALT  revealed, however, is that the investment has begun to pay off in visible and meaningful ways. Mitchell Crosby during the SALT Artist Talk's Q & A (Image by Sease The Moment Photography) Kat Brown, wife of Okeeba Jubalo (Image by Sease The Moment Photogra phy) Maura Hogen ( Author at Charleston City Paper) during SALT Artist's Talk Q &A (Image by Sease The Moment Photogra phy The exhibition itself carried the layered intentionality that has long defined Jubalo’s work. Rooted in the concept of “salt of the earth,” the show continued his Dirty Dozen  tradition—twelve works that operate both individually and collectively to tell a broader story of resilience, culture, and transformation. Materials like oyster shells, long embedded in Lowcountry tradition, were elevated into intricate, tactile works that demanded both attention and emotional engagement. These pieces did not simply sit on display; they invited viewers into a sensory and cultural dialogue, one that bridged memory, material, and meaning. For Marvin Sease Jr ., that connection was immediate. “The oyster shell cluster piece resonated with me the most,” he shared. “The texture and level of detail immediately drew me in. It felt tactile and alive—almost as if each element carried its own story.” His response speaks to a larger truth about Jubalo’s work: it resists passive viewing. Even the boundaries of the gallery space become part of the experience. “The ‘do not touch’ sign almost made it too tempting,” he added, highlighting the physical pull of the piece. More broadly, Sease noted the exhibition’s impact beyond aesthetics. “It adds meaningful value to the community by sparking dialogue and elevating creative voices that reflect culture, history, and identity. It invites viewers not just to observe, but to feel and engage.” Marvin Sease Jr of Sease The Moment Photography Image by (Image by Sease The Moment Photogra phy) That sense of engagement extended beyond the artwork itself and into the composition of the room. One of the most notable outcomes of SALT  was the diversity and balance of its audience—something Jubalo described as a rare and significant achievement. Too often, cultural spaces lean toward imbalance, leaving certain groups feeling peripheral or out of place. This exhibition, however, felt different. The audience was not only diverse but harmonized, creating an environment where the work could be experienced collectively rather than in fragmented ways. For Jubalo, this was a clear indication that his approach to cultural programming—one rooted in authenticity rather than accommodation—was resonating. Dr. Ed Garnes   (Image by Sease The Moment Photogra phy) Supporters of his work have long understood this impact. Dr. Ed Garnes   describes Jubalo’s practice as expansive in both form and meaning. “Okeeba’s work is a kaleidoscope melding the tragedy and triumph of the Black experience,” he explained. That duality—holding both weight and beauty—is central to Jubalo’s artistic language. “He is not a prisoner to style,” Garnes continued. “Whether abstract, collage, or figurative, truth reigns.” As a curator, that same commitment to truth translates into opportunity. “His focus is on giving artists redefining contemporary art space to breathe and eat off their art.” In SALT , that ethos was not only present—it was fully realized. “Okeeba is selfless, but with SALT, I am excited he has chosen to show the world why his work matters,” Garnes added. “His exhibitions are healing, challenging, and always an emotional experience. SALT is the remedy to all of your misgivings about archaic notions of art.” Chef Alexis Mungin   (Image by Sease The Moment Photogra phy)   (Image by Sease The Moment Photogra phy) Johnny Clarkson   (Image by Sease The Moment Photogra phy) Moments throughout the exhibition reinforced this sense of shift, but one stood out in particular. During the artist talk, a respected Charleston figure publicly acknowledged what many in attendance were beginning to recognize: what Jubalo is building has not been done before—not in this way, and not within this context. For an artist accustomed to pushing forward, the comment served as a rare pause, a chance to fully absorb the weight of that reality. It is often difficult to recognize a turning point while standing inside of it, but SALT  made that recognition unavoidable. The significance of that moment extends beyond a single exhibition. Through NobleSol Art Group , Jubalo has been developing a model that merges art, community, and commerce—one that prioritizes sustainability as much as creativity. The success of SALT  provides a foundation for what comes next: the expansion of the Dirty Dozen  series into new cities, the continuation of monthly programming that connects artists and entrepreneurs, and larger cultural activations that bring together visual art, cuisine, and conversation. That momentum is already carrying into new spaces. CreativeMornings Charleston’s  upcoming programming at the Charleston Library Society—one of the South’s oldest cultural institutions—marks a significant step not only for Jubalo but also for representation in spaces that have historically excluded voices like his. Entering that space as himself, without compromise or adaptation, underscores the very essence of what SALT  represents. Ultimately, Salt: The Dirty Dozen  is not just a reflection of where Jubalo has been—it is a clear indication of where he is going. It captures a moment when vision, community, and execution align, creating something that feels both immediate and enduring. For those who experienced it, the exhibition offered more than visual impact; it provided a sense of presence, of witnessing a moment as it shifts into its next phase. And in that shift, one thing becomes certain: this is no longer a process of building toward recognition. The recognition has arrived—and it is only the beginning.

In the heart of Moncks Corner, South Carolina, a quiet revolution in wellness and education is taking place. At the helm is Dr. Monica Irene Dixon-Houston, founder of Beautiful Butterfly LLC and owner of Brazilian Wax and Spa by Claudia’s in Moncks Corner . With more than 20 years ofexperience shaping education programs and professional development initiatives, Dr. Dixon-Houston has seamlessly blended academic leadership with hands-on esthetics expertise, creating a space where transformation is not just encouraged—it is inevitable. The philosophy behind Beautiful Butterfly, “From Cocoon to Confidence,” is deeply personal. “For years, I felt like I was not evolving to my full God-given potential,” Dr. Dixon-Houston explains. “I was a caterpillar. Through education, faith, and perseverance, I became more confident, feeling like a beautiful butterfly. God has guided me, and this journey informs every interaction I have with my clients and students.” Her spa, a serene sanctuary nestled in South Carolina, embodies this philosophy. The goal is not simply to provide a service, but to create restorative and empowering experiences for every visitor. “We prioritize comfort, safety, and confidentiality,” Dr. Dixon-Houston says. “People need to feel seen, heard, and secure. That is the foundation upon which transformation occurs.” Dr. Dixon-Houston’s approach to wellness is holistic, addressing the physical, mental, and spiritual needs of her clients. She emphasizes the importance of understanding the whole person, particularly in her role as an educator. “Holistic self-care is about the entire person,” she notes. “When students or clients feel their basic needs are met, they are better positioned to focus on growth and achievement. Our work is guided by faith, compassion, and a commitment to nurturing potential.” Her dual career in education and entrepreneurship has offered her unique insight into the gaps within the beauty and wellness industry. “I advocate for the recognition of beauty and wellness as legitimate professions,” she says. “Licensing and training are not arbitrary—they save lives. It ’s also critical to understand the disparities between states in licensing standards, and I aim to bridge that gap wherever possible.” Collaboration has been central to Dr. Dixon-Houston’s growth. Her partnership with Okeeba Jubalo and NobleSol Art Group has provided strategic guidance, amplified her digital presence, and allowed her vision to become more concrete. “Whenever I show people the website, they say it’s first class,” she shares. “This partnership has saved me time, sharpened my vision, and helped me articulate my goals. If people don’t have a vision, they perish. I’m grateful for the support and expertise they bring.” Beyond technical skill, Dr. Dixon-Houston is committed to fostering independence and empowerment. Reflecting on her own experiences with systemic barriers, she emphasizes the importance of creating opportunities where none exist. “As an African-American woman, navigating loans and business infrastructure was disheartening. My hope is to support others in similar positions, providing guidance and resources where traditional institutions may fall short.” Beautiful Butterfly is not only a space for individual growth but also a hub for professional development. Through her “Methods of Teaching” course and continuing education programs, Dr. Dixon-Houston equips licensed estheticians, nail technicians, and cosmetologists to teach with confidence. Each course is designed to be hands-on, holistic, and intentionally structured to reduce the learning curve for emerging professionals. “The first class I taught was challenging because I had to manage every detail myself,” she recalls. “Now, with the right systems in place, my goal is to provide a seamless, enriching experience for students. They pay for knowledge, and it’s my responsibility to make it worth their while.” Her impact extends far beyond the classroom or spa. Dr. Dixon-Houston envisions a future where her work inspires systemic change in the beauty industry and broader community. By emphasizing education, wellness, and strategic mentorship, she is setting a standard for what it means to lead with integrity, expertise, and compassion. In a world where holistic care is often undervalued, Dr. Monica Dixon-Houston stands as a beacon of transformation. Through her dedication, every cocoon has the potential to become a butterfly, and every client and student leaves not only renewed but empowered to embrace their full potential. Learn more about Beautiful Butterfly and Brazilian Wax and Spa by Claudia’s: www.thebeautifulbutterfly.com

Hello, Park Circle! My name is Sarah Ann Bolden, and I am the founder of Lymeapalooza, Community Manager for The Global Art Fair 2025, and contributor for the Park Circle Quarterly Magazine. Some of you know me already, but for those who don’t, let me introduce myself! Who is Sarah Ann? Park Circle Resident and enthusiast since March 2020 Lowcountry Orphan Relief Neighborhood Captain Former Secretary of Palmetto Gardens Neighborhood Bridges of Hope advocate and supporter Charleston Pride Board Advocate Amor Healing Kitchen reserve volunteer Charleston Native, raised in West Ashley, Graduate of Ashley Hall, Class of ’02 3rd Generation Clemson University Alumni, Class of ’06 Nova Southeastern University alumnus with a 4.0 Master’s in Curriculum and Education Design Early Childhood Educator in public and private schools in both Charleston and Columbia, SC, for 17 years, three of which were at top five private schools in South Carolina Chronic Neurological Lyme Disease CONQUEROR! Founder of Lymeapalooza, a music fest/fundraiser/awareness event for Lyme Disease Community advocate Networker Friend What I am about: Authentic people, genuine conversation and connection, music, art, books, swimming, event planning and hosting, serving the community, education, mental health (specifically trauma and men’s mental health), invisible/chronic illness awareness, fishing, alternative healing, Topgolf, and supporting LOCAL! Now that you have a glimpse of who I am, we can get to the good stuff. My WHY. WHY am I writing this article about Park Circle? In my opinion, WHY is the most important and least asked question. I am honored to be asked to tell you my WHY! Moving Back to Charleston, South Carolina  I moved back to Charleston from Columbia (2015-2019) after my mom was diagnosed with terminal colon cancer. I found my dream home on Churchill Road after searching for months. I bought it sight unseen and closed in October 2019. I had major renovations to do that took months, so I wasn’t able to move in until March 2020—the weekend the world shut down, the weekend before we went into lockdown because of the COVID-19 pandemic, to be exact. I was advised by my realtor to join Park Circle Chatter. That weekend, I made my first post and met my first friend in Park Circle, Marshall Goldstein, owner of Wilson Mows Best. He worked for over a week on my disheveled yard, and we quickly became friends. This was the beginning of an ongoing theme from my posts on the chatter. Strangers soon became neighbors. Neighbors became friends, and friends became family. I had never lived in a community like it. It was magical to see how everyone showed up for each other, supporting local, and celebrating each other’s wins. I was HOME! Sarah Bolden & Joe Gallagher Jr. at The 2025 Global Art Fair Only The Beginning  This is only the beginning of my journey of connecting with more Park Circle friends, and I am so grateful to the Park Circle Quarterly Magazine  for giving me a platform to share my thoughts. My heart is rooted in genuine connections, authentic conversations, and building a community where neighbors can become family. The Park Circle Quarterly Magazine continues to be a hub for celebrating our people, our stories, and our local culture through thoughtful editorials and wonderful events. If you’re planning an event and want to extend its reach, you can list it in the magazine to gain more coverage and connect with the wider community. To stay updated on all things Park Circle—and to be part of the magic we’re creating together—subscribe at www.thepcqm.com .

From oyster shells to monumental installations, Jubalo’s Dirty Dozen series turns everyday cultural elements into transformative works that honor heritage, identity, and artistic mastery. Okeeba Jubalo My Clarity featuring Keya Neal For more than thirty years, Okeeba Jubalo has shaped the cultural landscape in Atlanta and beyond, and over the last four years has turned his focus to North Charleston, South Carolina. The founder of NobleSol Art Group , Jubalo has built a legacy that blends rigorous artistic practice with deep engagement in the Black arts community. His upcoming exhibition, Salt: The Dirty Dozen, opening March 14, 2026, marks both a culmination of his decades-long work and a new chapter in his journey as an internationally recognized artist. The exhibition, titled with a nod to the concept of “salt of the earth,” highlights the people and cultural movements that have supported, challenged, and shaped Jubalo over the years. “Salt is what makes everything taste right,” he explained, reflecting on the dual meaning of the show’s title. “It’s about those who make things move and continue to make them move, and it’s also about the resistance I’ve faced in my career—the barriers, the intentional blocking over thirty years.” The title also reflects the signature structure of Jubalo’s work, in which he traditionally creates twelve pieces per exhibition. “I think of it like cooking,” he said. “Anytime you start a dish, you begin with a high level of salt. It’s the foundation for everything else.” Salt: The Dirty Dozen  extends that principle metaphorically, focusing on resilience, creativity, and the intricate cultural threads of his community, while celebrating the people and influences that have shaped him as an artist and curator. Jubalo’s work often transforms objects and experiences that might otherwise be overlooked. In one of his signature pieces, Beenya Gold, he uses oyster shells—a delicacy in his Charleston community—to elevate everyday cultural symbols into blue-chip art. “Oysters are celebratory,” he said, “and they’re expensive. You don’t eat them every day. This collection includes shells from a family gathering, along with several gifted by my friend   Mitchell Crosby . Taking things we normally discard and making them into fine art speaks to the luxury and richness of our culture.” The exhibition also represents a deliberate inclusivity. For the first time, Jubalo is including works by Atlanta-based artists alongside his own. “We’ve been able to acquire different eyes,” he said. “It’s important to include them in this celebration and movement because I want their work to be seen. We represent them, and I believe in their work. Sharing the stage strengthens the cultural dialogue we’re creating.” Dr. Ed Garnes performing at The Global Art Fair 2025 Okeeba Jubalo & Dr. Ed Garnes Why We All Need Therapy ft. Dr. Ed Garnes | Conversate with Killer Mike ep. 8 Supporters and collaborators of Jubalo’s work emphasize the impact of his exhibitions. Dr. Ed Garnes, founder of From Afros to Shelltoes & Sweet Tea Ethics , describes Jubalo’s art as “a kaleidoscope melding the tragedy and triumph of the Black experience.” On his approach, Garnes adds, “As an artist, Okeeba is not a prisoner to style, and whether abstract, collage, or figurative art, truth reigns. As a curator, his focus is on giving artists—redefining contemporary art—space to breathe and eat off their art.” Looking ahead to SALT , Garnes says, “Okeeba is selfless, but with SALT , I am excited he has chosen to show the world why his work matters. His exhibitions are healing, challenging, and always an emotional experience. This is the remedy to all of your misgivings about archaic notions of art.” Chef Alexis Mungin , who will contribute culinary artistry to the exhibition experience, describes her excitement for the show: “This will be my first time experiencing Okeeba Jubalo’s solo work in an exhibition setting, and what excites me most is the opportunity to engage with his process—how materials are chosen and used, and how his current lived experiences show up in the work. I’m especially looking forward to hearing the stories behind the pieces and seeing how SALT  reflects both growth and intention. I anticipate an exhibition that feels honest, layered, and rooted in reflection.” She continues, “Sharing food alongside his art feels like an extension of the experience—bringing people together and allowing them to engage more fully with the work.” Johnny Clarkson & Okeeba Jubalo (Founders of The Lowcountry Cigars) Image by Katrina S. Crawford Photography Johnny Clarkson, Executive Digital Director at NobleSol Art Group and a longtime collaborator, reflects on Jubalo’s past Atlanta exhibitions, including the 2017 Dirty Dozen Jim Crow Fantasies : “When you’ve had the privilege of witnessing greatness from behind the velvet rope, choosing a single highlight feels impossible—like trying to define LeBron James’ career by one jump shot. The production was layered with purpose: art, performance, and unapologetic Black visual empowerment. During the dinner sequence, a long communal table brought together influential community leaders and media figures, with Okeeba and Kat Brown at its head. It felt like a modern-day Last Supper—symbolic, intimate, and powerful.” Clarkson describes Jubalo’s approach as “unwavering integrity, disciplined ethics, and a deliberate vision that leverages art to build and sustain community.” On SALT , he adds, “I’m most excited to witness the audience’s realization that his work surpasses every expectation they brought into the room. This is an experience you owe yourself if you consider yourself a collector, a contributor, or a true lover of the arts.” Salt: The Dirty Dozen   is both a personal and communal statement. Visitors will encounter Jubalo’s artistic transparency, which he describes as emotionally honest and unflinching. “I want people to remember their humanity,” he explained. “To experience grace, to allow themselves to feel. This show is about giving space for healing, for reflection, for joy.” The exhibition is deeply rooted in North Charleston, drawing on the city’s unique energy, history, and geography. Jubalo emphasizes the significance of place, describing the city as its own country, with a culture that permeates the work. Jubalo’s approach to his craft is meticulous and intentional. Over the last four years, he has developed smaller versions of pieces in preparation for this solo exhibition, ensuring that his ideas and vision are cohesive and fully realized. The show will feature pieces ranging from intimate vignettes to large-scale works, some reaching eight to ten feet in size, signaling his entry into the museum market and the international art stage. The impact of Jubalo’s work extends beyond aesthetics. It’s about community, mentorship, and legacy. “I’ve learned that it’s not just about me,” he said. “It’s about creating a platform where others can shine. We bring people back home through the arts, and we create a space where emerging artists can be seen and celebrated.” By connecting his exhibition to local history, culture, and the experiences of those who have shaped the community, Jubalo positions Salt: The Dirty Dozen  as more than a display of art—it is a statement on heritage, resilience, and the transformative power of culture. Visitors to the exhibition can expect an immersive experience. Jubalo wants audiences to feel transparency, honesty, and a deep connection to the stories embedded in each piece. “If visitors leave remembering one thing,” he said, “I want them to know that we are enough. We have what we need to uplift our community and to continue building a legacy that reflects our creativity, resilience, and shared humanity.” Okeeba Jubalo at the 2025 Global Art Fair As Salt: The Dirty Dozen  launches, Jubalo is already thinking ahead. The exhibition serves as the national and international kickoff of his work, with the potential to influence the broader art world while remaining rooted in the South Carolina communities that have nurtured him. “This is our Harlem Renaissance,” he said. “We may not always see it in real time, but we’re in the midst of it, and history will recognize it.” With Salt: The Dirty Dozen , Okeeba Jubalo offers both a personal narrative and a collective one. It is a reflection of a lifetime of artistic practice, community engagement, and cultural storytelling. It is, ultimately, an invitation: to witness, to feel, and to participate in the ongoing movement of art, culture, and heritage that he has cultivated with care, courage, and unwavering vision. RSVP for Salt: The Dirty Dozen : https://www.okeebajubalogallery.com

For two brisk autumn days, Park Circle was alive with the hum of conversation and the rustle of possibility. The 2025 Global Art Fair , powered by NobleSol Art Group  under the leadership of Okeeba Jubalo, turned the quiet rhythm of North Charleston into a vibrant dialogue about art, heritage, and community. From the street, the Park Circle Community Building appeared modest, almost unassuming. Step inside, and the light shifted—spilling across canvases, sculptures, and faces that seemed to carry the weight and memory of generations. Hampton Keith Bishop’s balloon décor from HK Balloons lent an unexpected whimsy, punctuating the room with color and movement. There was a quiet electricity in the air, a sense that something was unfolding: a reclamation of identity, a reimagining of North Charleston’s cultural landscape, and a subtle insistence on what it could and should become. Okeeba Jubalo (TGAF Founder & Executive Creative Director) A Hometown Vision with Global Reach Okeeba Jubalo speaks with the cadence of someone deeply rooted in the soil he’s enriching. Born in Charleston and raised in North Charleston, he spent nearly three decades in Atlanta building a career that blends art, entrepreneurship, and cultural storytelling. Now, through the Global Art Fair, he’s bringing that experience back home. The fair, now in its second year, is both a showcase and a statement. Jubalo’s intent is not to import culture but to reveal the creative pulse that has always been here, waiting, often overlooked, beneath the surface of industrial corridors and suburban sprawl. As he explains, “The foundational expertise and pioneering work developed across major cultural centers, including Atlanta, have brought us to this critical juncture. This phase goes beyond individual performance, an operational capability we have already mastered.” Jubalo continued, “Our vision is to establish strategic alliances with high-performing artists and cultural leaders and secure the patronage needed to fund a robust cultural platform. This initiative will decisively position North Charleston as a distinct cultural epicenter, moving beyond the shadow of downtown Charleston. The time for this advancement is now, and we are strategically poised to move forward.” The weekend’s theme,  Welcome to the New North Charleston , felt both celebratory and declarative. Inside Park Circle’s transformed space, art hung like testimony: abstract portraits, bold textile pieces, intricate line work, and the quiet stillness of painted Lowcountry landscapes. The air was filled with conversation, and beneath it, the hum of change. TGAF (Friday Cocktail Reception) A Weekend of Art, Culture, and Purpose The opening night was sold out before the doors even opened. Guests arrived dressed for celebration, greeted by the familiar warmth of Southern hospitality—handshakes, hugs, and a soundtrack by DJ Balo (Okeeba Jubalo) that promised something memorable. Opening with a powerful spoken word performance by Christine D. Johnson, Georgia Nubia, and Hafeeza Yates, the evening was curated to stir the soul and celebrate the depth of creative expression. The fine art exhibition showcased the work of Patricia Coleman-Cobb, Alvin Glen, Renee H. Fleuranges-Valdes, Georgia Nubia, Margaret Warfield, Vando Davis, and Thom Bess, among others. Their pieces reflected the Fair’s dual spirit of rootedness and reinvention. Among the featured artists, Damon Mescudi brought a powerful perspective shaped by decades of creative evolution. His reflections captured both the vision of the Global Art Fair and the impact of its leadership. Damon Mescudi “After more than 40 years as an artist, I’ve seen my share of murky landscapes. Working with Okeeba and his team in Atlanta brought clarity. In Atlanta, Okeeba cut through the noise,” said Mescudi. “As an artist himself, he understands the collector–creator dynamic and the demographics that help artists thrive in North Charleston’s fertile art scene.” Music drifted through the evening courtesy of Zandrina Dunning and Stephen Washington, performing as The ZD Experience. Their set, part of TGAF’s Soul in the Circle Concert Series, wove jazz, soul, and R&B into the very fabric of the night, threading the room with rhythm, memory, and feeling. “The Global Art Fair was more than an event—it was a celebration of culture, connection, and creative excellence,” Dunning said later. “Every note we played was rooted in love and intention, mirroring the spirit of Okeeba Jubalo and NobleSol Art Group’s vision to unify community through art and open conversation.” Zandrina Dunning Stephen Washington The aroma from Chef Alexis Mungin’s kitchen mingled with the music. Her menu, a blend of Lowcountry flavors refined with elegance, spoke in its own language of tradition and transformation. “It wasn’t just an event—it was an experience that captured the spirit of creativity, culture, and community,” she said. “Every element was thoughtfully curated, and it all came together as a true celebration of excellence.” Okeeba Jubalo & Chef Alexis Mungin Community at the Core If Friday night was a statement of artistry, Saturday was a reminder of purpose. Community Day, free and open to the public, was a lively testament to accessibility—the idea that fine art and local culture don’t belong behind velvet ropes. Julia Rugg, CEO of Wings for Kids , reflected on the experience: “What a privilege for Wings for Kids to come together with other nonprofit leaders and our North Charleston community to open lines of communication, to align how we serve families and kids, and to build ourselves as a collective!” Culture Conversations V3 Nonprofit Leaders Panel “Okeeba Jubalo and his NobleSol Art Group are sparking energy, creativity, and community so North Charleston residents and businesses can rethink how futures are shaped,” continued Rugg. “It’s a fresh lens, rooted in deep passion for an arts renaissance that is about so much more than art.” The TGAF Vendors Fair lined the grounds with small businesses, artisans, and creative entrepreneurs. Among them were Edelena Smith Butler of Unforgettable Events, Aisha and Tiffany Green Darby of A’Neera Darby Designs, Tarsha Anderson-Laboard of Bawse Thangz Consulting, Sarina Freincle of A Beautiful Distraction, Georgia Nubia, and Lady Zen of Stix, Stones & Roots Clothier. Nearby, the Classic Car Show, featuring The Men of Vision Car Club, shimmered like a living exhibit of history and craftsmanship. Children tugged at their parents’ sleeves, pointing to candy-colored cars polished to perfection. The event carried the warmth of a neighborhood gathering, yet everything was curated with precision—every element intentional, every detail impactful. Inside, the conversation shifted from art to action. Culture Conversations: The Nonprofit Leader Panel, moderated by Okeeba Jubalo and Victoria Rae Boyton Moore, co-host of TINY is POWERFUL, brought together voices shaping the civic fabric of the region. The panel featured Susan Ash of Liza’s Lifeline, Julia Rugg of Wings for Kids, Ja’nister Herring, Ericka Plater of GroundWell Collective, and Maggie Yewens of Blood Cancer United. Their discussion circled a central idea: community work and creative work are not separate, but parallel forces capable of reshaping the social landscape. The Launch of Lowcountry Cigars On Saturday afternoon, amid the hum of conversation, another kind of unveiling took place—the official launch of Lowcountry Cigars , a venture co-founded by Jubalo and Johnny Clarkson, NobleSol Art Group’s Executive Digital Director. Part ritual, part business debut, it represented a continuation of Jubalo’s mission to reclaim and celebrate Southern artistry. Each cigar told a story of craftsmanship, lineage, and pride. Speaking on the vision behind the brand, Jubalo explained, “Lowcountry Cigars is founded on the core principles of cultural ownership and creating an exclusive platform for community connection. This brand represents the culmination of a decades-long partnership between Johnny and me, strategically leveraging our expertise to elevate the premium cigar experience. While Charleston remains a highly sought-after destination, we curate our brand experience for a discerning clientele who genuinely appreciate and embody the authentic Lowcountry culture. This venture is a genuine celebration and preservation of our distinct regional heritage.” The launch had already been chronicled in Park Circle Quarterly Magazine under the headline Lightning and Thunder: The Launch of Lowcountry Cigars , but witnessing it in North Charleston carried its own resonance. It was about community and the quiet comfort of shared moments. Leadership and Collaboration Behind the scenes, the event reflected the precision of a well-tuned orchestra. Kat Brown, Finance Officer; Johnny Clarkson, Executive Digital Director; Nailah Herbert, Executive Assistant and Lead Editorial Writer; and Sarah Bolden, Community Manager, each played a distinct role in executing the vision. Johnny Clarkson TGAF & NSAG Executive Digital Director They were supported by a network of ambassadors that stretched from local artisans to national thought leaders. Among them were Dr. Ariana Curtis and Jason Warner, Director of Business Programs for Cybersecurity and AI Incident Response Strategy at Microsoft. Their involvement underscored a truth about NobleSol Art Group’s reach: it connects local communities with global networks. Artists and Voices That Inspire Featured artist Renee H. Fleuranges-Valdes described her experience as both joyful and transformative. “The Global Art Fair felt like the beginning of something new—where fine art, spoken word, music, and culture came together to connect community and celebrate who we are,” she said. Renee H. Fleuranges-Valdes TGAF Featured artist & vendor Artist Margaret Warfield added that the Fair “provided a glimpse into the imaginations of the artists whose works adorned the elegant facility, while the songs and spoken words of our history and community instilled hope and inspiration.” Margaret Warfield embracing fellow TGAF featurted artist Patrica Coleman-Cobb And for Chef Alexis Mungin, who curated the culinary experience, the connection between food and art felt natural. “Both have the ability to evoke emotion, spark conversation, and connect people across generations,” she said. “Food tells the story of where we come from, while art helps us imagine where we can go.” The Bigger Picture: Revitalization Through Art For Dr. Edward Garnes , an Atlanta-based TGAF ambassador and founder of From Afros to Shelltoes and Sweet Tea Ethics, the Global Art Fair’s impact reaches far beyond the weekend. “In its second year, The Global Art Fair has emerged as a premier gathering, transforming not just North Charleston but the arts industry as a whole,” Garnes said. “Okeeba is a leader whose heart is with the people and whose vision focuses on freedom and financial stability, enabling artists to sustain themselves through their cultural work.” Okeeba Jubalo & Dr. Ed Garnes (Atlanta-based TGAF ambassador) This is the quiet revolution taking place in North Charleston. Through NobleSol Art Group’s work, art has become both a mirror and a roadmap—a way of reminding the city of its creative lineage while charting a path forward. For Jubalo, revitalization is not about gentrification or grandstanding, but about empowerment, ownership, and cultural preservation. What’s Ahead for North Charleston As the final notes faded and the last pieces of art were packed away, Park Circle returned to its calm rhythm. But something lingered in the air, a sense that the city’s creative heart was beating stronger, steadier, and louder. “The Global Art Fair was nothing short of extraordinary,” said Chef Mungin. “It reminded us that culture is for everyone, and The Global Art Fair made that possible.” For Okeeba Jubalo, this is only the beginning. The fair is one expression of a much larger vision, to cultivate an ecosystem where art is not a luxury but a necessity, where North Charleston’s creative legacy can flourish in full view of the world. The city may once have been overlooked, but with the work of Jubalo and NobleSol Art Group, it is now looking ahead with purpose, with pride, and with promise. Learn more about Okeeba Jubalo and how the NobleSol Art Group team is shaping the North Charleston community at www.OkeebaTheMayor.com  and www.ThePCQM.com .

For nearly thirty years, my family and I lived in Atlanta, only visiting Charleston for a week each summer. When my wife first suggested moving back a few years ago, I can honestly say I wasn't completely sold. To be transparent, I was hesitant about uprooting my life. I knew that returning to Charleston would mean committing to building an arts scene from the ground up . After decades of investing in my brand  and movements  in Atlanta , I realized I would be starting over from ground zero. It wasn't that Charleston lacked artists or Black businesses, but to achieve my vision, they needed to move at a specific pace—a pace I was prepared to set. The 2023 Atlanta Exhibition (Founded by Okeeba Jubalo & NobleSol Art Group) Sadly, Charleston has birthed incredible talent over the centuries, much of which never returned to help move our culture forward. In our community, we've grown accustomed to fragmented versions of "support." Support is a verb , and it takes a consistent, collective effort to spark a real movement. Having built successful brands and movements in Atlanta, I knew the resources, relationships, timing, patience, strategies, and consistency needed to navigate this transition successfully. Six years ago, I began to seriously look at Charleston and focus on what I could bring to the table. I knew my vision and execution could ignite the needed changes within North Charleston . It's easy to complain about what's wrong with a city; it’s much harder to power the needed, positive change. A Leap of Faith: The Journey Home In the summer of 2021, my wife and her parents came to scout our temporary landing spot, which ended up being downtown Charleston. This centralized location allowed us to look for land to build our home in North Charleston. Downtown felt like a world away from where I grew up. That September, we sold our home in Atlanta, and in October 2021, we completed the move. Calling it a leap of faith would be an understatement. I had begun preparing my Atlanta team in 2020, and now, the plays were in motion. Yet, I wasn't nervous; after all, this is my home turf. I was born in Charleston and raised in North Charleston, right on Ashley Phosphate Road . Fast forward to November 2021, when we began looking at commercial properties for our first gallery in North Charleston . Immediately, I was met with discouraging voices. Family, friends, and even random people told me the same thing: start downtown, not in North Charleston. They cited crime, drugs, violence, and a perceived lack of culture, understanding, and support. I heard every reason why I should avoid the community that raised me. My father, Jessie Brown, is buried in Sunset Memorial Gardens on Ashley Phosphate Road. I played with the Northwood Bulldogs. My family still lives here. Why would I not give those who poured into me the opportunity to experience the man I've become? I constantly read stories about gun violence, low morale, and lost lives in North Charleston. There is a desperation in the eyes of too many in our community. We have to reimagine  every aspect of this city, and becoming the needed change is the only way forward. Leading from the Front I understand that North Charleston’s leadership sectors need a new level of thinking and inspiration. The power of The Arts and entrepreneurship  can create the positive shift our community desperately needs. This will require a collective effort from those with like minds and diverse skills. We have work to do as a collective. You can’t drill holes in one side of the ship and expect the entire vessel to stay afloat; we have to work together with leaders who understand how to keep the ship whole. In December 2021, we chose Ten Mile  as the destination for our gallery and office in North Charleston. It was a powerful starting point that helped us give life to my beloved, yet recessed, North Charleston. Guests at the 2024 Global Art Fair To truly impact a community, inspiration must be accessible  to those who need it most. My professional accomplishments in Atlanta and beyond mean very little if I can't make my home a better place. Why go through everything I went through over the last thirty years only to stay away from home? I was raised in North Charleston, and now, my vision is to help raise North Charleston  to become the epicenter of arts and culture within South Carolina. I see the long road ahead clearly—no delusions and no fear. Leaders lead from the front, and over the last four years since returning home, I have made it clear that I am here to stay. Okeeba Jubalo (Founder & Executive Creative Director) at the 2024 Global Art Fai r Our cultural programming, art exhibitions, music concerts, and school programs have set a powerful tone for who I am and what I am about. As we move into the second year of the Global Art Fair , held in partnership with the North Charleston Office of Cultural Affairs, I am confident that coming home was the right decision. Now is the time, and we must continue to be the change that is needed within our community. I am warmed up now and looking forward to leading us into a prosperous 2026. North Charleston is my home, and my level of commitment is strong. Okeeba Jubalo: The Long Way Home P 1

Okeeba Jubalo & Kat Brown (Image by NobleSol Art Group) The Atlanta Fine Art Exhibition was nothing short of spectacular. From the featured artists and their striking artwork to the special guests in attendance. But there is a collective who makes all the difference in recognizing the value in the artists and contributing to their rising success: art collectors. Art collectors see the advantages that artists bring to communities and society. When an art piece is purchased, it’s considered an investment to help artists continue their craft while building excitement around an artist’s oeuvre, especially for Black artists who are severely underrepresented in the art scene. Founder and curator of the Atlanta Fine Art Exhibition, Okeeba Jubalo established the exhibit in 2009 to provide a platform for artists to showcase their talents and for art collectors to buy exclusive, one-of-one artwork. The Atlanta Fine Art Exhibition is a nationwide mobile fine art showcase. The most recent installment was hosted at the Emma Darnell Museum and Conference Center in Atlanta, Georgia, in early 2023. This year’s exhibition featured 44 artists that displayed work ranging from sculptures, mixed media pieces, collages, and paintings. Atlanta-based art collectors and married couple Yvonne and Randall Dragon understand the need to sow their financial seed into the community of artists to help them flourish. As business owners, they acknowledge that entrepreneurs have to start somewhere, and all it takes is for someone to take a chance on them. “Mother and Child II (Never Abandoned)” artwork by Shanneil Clarke “My husband and I are entrepreneurs, so we always want to support other entrepreneurs in creative fields,” said Yvonne Dragon, who, along with her husband, Randall Dragon, bought the “ Mother and Child II (Never Abandoned) ” artwork by Shanneil Clarke. “Collecting art is a way to express our style, make a statement and support small businesses at the same time.” The Dragons intentionally push the Black culture forward by purchasing artwork by Black artists and business owners. “It is vital to amplify Black artists, galleries, and patrons. Black people across the diaspora have so many stories to tell,” said Randall Dragon. “Art shows like the Atlanta Fine Art Exhibition bring like-minded individuals to elevate and celebrate art on a level that Black art deserves.” 2023 ATLANTAFAE & Friends Art installation (Image by NobleSol Art Group) The 2023 Atlanta & Friends Exhibition (Image by Katrina S. Crawford) Telling the story of Black art can be challenging, especially when you must go against a system that has oppressed Black art and Black people for centuries. However, Okeeba Jubalo understands the needs of artists because he is also a multi-disciplinary artist. He knows the feeling of being on both sides of the fence: as an artist and business owner who advocates for artists. “Unfortunately, the brand name "Atlanta" means more for artists when they are away from the city than when they are in the city. 98 percent of the artists who claim Atlanta do not really live in the city. It is a very challenging landscape for professional creatives, mainly because of the limitations of stagnant county agencies and the gallery market,” said Okeeba Jubalo, who is a top-tier purveyor of fine art. “My vision is to build a world-class mobile platform centered around Black art. All ethnic groups are welcome, but I am making sure that we are at the center of everything. I am being intentional about our success.” As a teenager growing up in North Charleston, South Carolina, Okeeba Jubalo created art as a means of self-expression. As he grew into a young man, he decided to attend The Art Institute of Atlanta to sharpen his craft and enter the executive-level suite of the art world. He soon noticed the “starving artists” narrative running rampant throughout Atlanta and the nation. So, he famously coined the term “thriving artists” to spearhead a new movement for artists. For decades, people have believed that artists don’t earn any money because their pieces are worth more when they die. The collective narrative is quite clear with artists such as Jean-Michel Basquiat and Vincent Van Gogh, whose paintings are worth millions today but couldn’t be bought for less than a penny when they were alive. Fortunately, that isn’t the case under the regime of NobleSol Art Group , another influential company founded by Okeeba Jubalo. Featured art by Jessica Michelle Hill “This was my first time working with Okeeba and the NobleSol Art Group team. It truly was an absolute pleasure working with them,” said Jessica Michelle Hill, a featured artist whose artwork sold on the night of the opening reception. “They really have respect for the artists. I felt supported as an artist and as a businesswoman. I am looking forward to working with them again in the future.” NobleSol Art Group advocates for artists and gets their artwork seen by key individuals and corporate companies who want to do more than stare at a pretty picture; they want to invest in the lives of creatives. “The exhibition brought together a broad spectrum of collectors seeking emerging and established artists. It created more visibility for me in the Atlanta market,” said Damon Mescudi, a featured artist who sold his artwork at the Atlanta Fine Art Exhibition. “It’s important to break away from the brick-and-mortar as they have controlled the narrative for too long. The mobile exhibit exposes a whole new way to invest and educate new collectors and art aficionados.” Dr Ed Garnes addressing the ATLANAFAE audience (Image by Katrina S Crawford) 2023 ATLANTAFAE installation (Image by NobleSol Art Group) The mobility of the Atlanta Fine Art Exhibition has changed the game for the entire art scene. Thus far, the Atlanta Fine Art Exhibition has traveled to states like South Carolina, Washington D.C., and Nevada. Jubalo has reinvented the wheel by providing unlimited bandwidth on how he connects with artists and art collectors. “There aren’t many African-American art galleries across the country. That’s why mobile exhibits like the Atlanta Fine Art Exhibition are so important,” said Michael Johnson on his experience with other exhibits compared to being a featured artist at the Atlanta Fine Art Exhibition. “I know there are a lot of young kids that used to be like me with unlocked talent, and they just need a little inspiration to unlock it. They should see the art, and their parents should get the opportunity to own some art.” Society truly thrives when artists thrive. Private collectors, museums, and unique exhibits all have one thing in common: telling a story through the lens of an artist. “We are big fans of James Baldwin, and we’ve looked at other pictures of James Baldwin, but we haven’t pulled the trigger on it. I noticed [Michael Johnson’s] piece as I was in line for a glass of wine. It was a mixed-media piece that used Vinyl records to compose it,” said Theo Guidry, an art collector who purchased Michael Johnson’s “ James Baldwin ” art piece at the Atlanta Fine Art Exhibition. “It showed Baldwin in such a unique light. We met Michael Johnson, and he talked about the piece, and with the artist being there and us having an opportunity to speak with the artists themselves, it gave us a much better appreciation of the piece.” Theo Guidry and his wife, Della Guidry. Featured artists, Darrien West & Michael Johnson Theo Guidry and his wife, Della Guidry, have collected artwork for years and have also gotten their family into collecting artwork. They have even made it a tradition to visit Black-owned museums and exhibits whenever they travel. Theo and Della Guidry purchased two pieces, one by Michael Johnson and one by Darrien West, on the opening night of the Atlanta Fine Art Exhibition. “Jubalo was very nice to us. We told him we wanted to take pictures with the artists, and he cleared the red carpet for us. He made way for us to get that picture taken, and my goodness, there were so many cameras on us I couldn’t believe it. I felt like a movie star,” said Della Guidry about the amount of press, the people who attended the event, and the smooth transaction of buying and leaving with the artwork the same day of purchasing it. “It was a fun event! My highlight of the event was meeting Michael Johnson and Darrien West. Jubalo’s wife, Kat Brown, was very nice and patient in helping us to purchase the art.” The Atlanta Fine Art Exhibition has always brought out several well-known art collectors and future art collectors like Spelman College student Veralyn Wen. An art history major, Wen was encouraged by her Spelman professor, Dr. Shady Radical, to attend the Atlanta Fine Art Exhibition. ATLANTAFAE patron & collector, James Jackson. Image by Katrina S. Crawford Executive Digital Director, Johnny Clarkson. (Image by Katrina S Crawford) “I grew up with art around me. But the Atlanta Fine Art Exhibition was my first time purchasing art. Collecting art is something that I know, and as an art history major, documentation is important. So, making art our history book and archiving, participating, and putting your dollar in is what my family has been doing for years. It’s kind of what’s expected of me as well,” said Veralyn Wen, a newly established art collector who bought the “ Zinc ” piece by Ty Davis. “As a college student, your pockets don’t run that deep yet. But I knew that if I left without that piece, something inside me was going to hurt. I got it, and it was a beautiful and satisfying moment, and I was able to leave with it.” Although artists are the stars of the show, art collectors help them shine even brighter by financially supporting their creative endeavors. Artists can inspire, educate, and change the world through their art. Not only does art assists in the uniting of different cultures, but it also increases economic growth. Okeeba Jubalo addressing the ATLANTAFAE audience “I was absolutely delighted to be included in the Atlanta Fine Art Exhibition. It was a wonderful evening, and I was so proud and happy. I bought [art] too,” said Sandy Teepen, a featured artist in the Atlanta Fine Art Exhibition who also collects art and bought Okeeba Jubalo’s piece, “ Hello Charleston .” “My motto is “make art, buy art.” That’s the way we [financially] support artists, museums, and galleries.” By purchasing artwork, people have the power to elevate the eyes and ears of everyone around them by allowing them to take heed to an emerging artist. “It’s our time to make our staple in this world because we exist also,” said Shanneil Clarke, a featured artist at the Atlanta Fine Art Exhibition who sold his “ Mother and Child II (Never Abandoned) ” piece. “One time, someone asked how much my work cost and they said to me, ‘You must think your Basquait.’ I didn’t think that at all. I told him, ‘I am Shanneil Clarke.’ I don’t think I am Picasso, and I don’t think I am Basquiat; I am Shanneil Clarke.” Black artists like Shanneil Clarke are often compared to artists of pastimes. But, providentially, the Atlanta Fine Art Exhibition puts Clarke and other artists on a bigger stage without any of them having to be put into a comprised and disillusioned box. ATLANTAFAE & Friends guests (Images by Katrina S Crawford) Countless artists have gone through the runaround regarding why they can’t be featured in a particular exhibit or why certain business sectors declined their offer to display their work. But NobleSol Art Group and the Okeeba Jubalo Gallery have changed the landscape and opened the doors for deserving artists to show their work without hindrance. “Some of the challenges with the art industry is access to the museums, galleries, and publications. Who decides which artists get the big platforms? Why are most artists holding space in these arenas still white males? How do we get galleries to value the work that artists do? Without the artists, there would be no art industry. Taking 50% without actively supporting the artists is extreme. But this is the established relationship most galleries have chosen to have with artists,” said Jessica Hill. “Pouring money directly into the artists through studios spaces, materials, and community programming would help to combat these challenges. Diversity, inclusivity, and more art programs for people of color would be ideal. As Black creatives, I believe we are the catalysts for change. Going against the mold like the Atlanta Fine Art Exhibition and NobelSol Art Group is a great way to start remedying the problems artists of color face.” All artists who participate in the exhibitions powered by NobleSol Art Group adhere to the ethically and morally sound business model created based on keeping the artist first. NobleSol Art Group will continue to advocate for its artists and create safe spaces where their creative abilities can prosper, and they can earn the income they deserve.

In the late 1800s, our society transitioned from battling the darkness of night with candlelight and kerosine lamps to the explosion of electricity to brighten our homes and businesses. Visionaries like J.P. Morgan, Thomas Edison, Nikola Tesla, and George Westinghouse worked tirelessly to push the business of electricity forward. There are times within our culture when we do not know what we are missing until a pioneer identifies a need within our community. We have a long list of Black men who are willing to go first on behalf of bettering our society. Berry Gordy, Robert Johnson, George Washington Carver, John H. Johnson, and Maynard Eaton all moved the needle forward for the culture. These trailblazers aren’t always positively embraced by the mainstream media and public; as a Black man in any industry, this can be twice as challenging and daunting. The arts, business, and culture industries are a loaded minefield with barbed wire stretched out as far as the eyes can see as a means to discourage our thought leaders and innovators. However, within the City of North Charleston, a movement and renaissance has been spearheaded by a true visionary, Okeeba Jubalo , who set his plans in motion to revolutionize the low country arts and business scene in October 2021. Fast forward to today, and he has accomplished just that within a few short years. A son of Charleston and resident of North Charleston, Jubalo made the long journey back to his hometown in October 2021, Jubalo made the long journey back to his hometown after serving as an arts and small business industry leader in Atlanta, Georgia, for nearly three decades. Jubalo has centered his vision on turning North Charleston into the epicenter of African-American culture. Since his return, Jubalo has set up shop to meticulously impact the communities within Charleston, including the Black community, the business community, and everyone in between. From schools to organizations, he has partnered with several institutions and community leaders to make his vision a reality: writing the history of a new North Charleston. “Most people who did not know me prior to my return are surprised by the amount of ground that we have covered over the last three years,” said Okeeba Jubalo. “Those who knew me knew exactly what North Charleston would get from me and the effort of my team. I came home with a plan in place; now everything is about execution at a high level.” Okeeba Jubalo addressing his guests at the Atlanta & Friends Exhibition Guests at the Okeeba Jubalo Gallery Guests at the Okeeba Jubalo Gallery Okeeba Jubalo addressing his guests at the Atlanta & Friends Exhibition Jubalo has already made significant progress in his efforts to revitalize the image of North Charleston. He established the South's premier African-American gallery , Okeeba Jubalo Fine Art Gallery, where he has hosted countless events, from exclusive gatherings to public showings of a collection of fine art pieces. People who have interacted with Jubalo and attended any of his first-class events and exhibitions have made the remarks of him being “a magnificent artist and entrepreneur” and his coming back to Charleston being for the “betterment of all of our communities.” He plans to continue combining art, education, real estate development, and authentic leadership to transform communities with a commitment to making North Charleston a better place for all. However, Jubalo's work is not without its challenges. North Charleston is a city with a long history of poverty, violence, and crime. Nonetheless, Jubalo’s business acumen, connections, and confidence have allowed his vision for the city to become successful. Okeeba Jubalo @ 2023 TEDx Charleston “I have hundreds of years of blood in this soil. I did not come home to ask permission to be excellent; I am home. Okeeba Jubalo is nobody’s pet lion. This is not only about the arts, but this is about a new brand of leadership within the City of North Charleston. For our city to get unstuck, we need a creative and skilled leader who can see around the corners,” said Okeeba Jubalo . “What we have been able to accomplish within two short years is a very small version of what I have planned for the entire City of North Charleston. The ills of poverty and crime have been fueled by a lack of creative and loving leadership. I am here to serve my community and bring the best of myself to the forefront for our community. I am home now.” Jubalo has improved the quality of life in North Charleston by providing opportunities for people to learn about and experience art and the authenticity that Charleston offers not only to its residents but also to tourists. An intentional planner and thought leader, Jubalo is working on new real estate projects that will bring together the business, music, education, and fine art communities in North Charleston. As Okeeba Jubalo and his team move into Phase 4 of 10 of his “ Okeeba The Mayor ” campaign, the 2025 events will be held at numerous locations around North Charleston, featuring various activities, including art exhibits, music performances, wellness workshops, and business networking opportunities. “I get it. Experiencing me can be confusing and exhausting. I am relentless. Charleston and North Charleston are not accustomed to dealing with a brother like myself. These other institutions are helpful for pulling national and international eyes onto Charleston,” said Okeeba Jubalo. “Now, I will take their candlelight approaches and transfer it into electricity for the City of North Charleston. I am warmed up now.”