Nancey B. Price’s creative journey is deeply connected to her upbringing in Girard, Georgia, where her family has cultivated the same land for more than a century.

A sixth-generation descendant of farmers, Nancey draws inspiration from the landscapes, family traditions, and communities that shaped her childhood. Her artistic practice is grounded in the belief that the experiences of everyday Black people deserve to be remembered, celebrated, and imagined without limits.

What began with a childhood fascination with paper dolls eventually grew into a passion for collage, an art form she began pursuing in 2016.

Today, her work combines historical imagery with imaginative elements drawn from nature, spirituality, and the cosmos. Through these compositions, she creates spaces where Black life is celebrated across generations, landscapes, and possibilities.

Her artwork has appeared in publications including O, The Oprah Magazine, Garden & Gun, and Black Collagists: The Book. Her work has also been exhibited at institutions including the Montgomery Museum of Fine Arts, the Jepson Center at Telfair Museums, and Yale Divinity School.

Beyond her visual art, Nancey is a writer and performance storyteller, bringing another dimension to her commitment to sharing and preserving the experiences of Black communities.

Understanding Her Art | More Than an Image. A Story in Every Layer.

Unlike a traditional painting, collage is created by bringing together individual elements to form an entirely new composition.

Using paper, scissors, glue, printed imagery, and archival photographs, Nancey practices what is known as analog collage. Her artwork is assembled by hand, with each image, color, and layer thoughtfully chosen.

The result is a visual conversation between generations.

An old photograph may find new life surrounded by blooming flowers. An ancestral image may become part of an imaginative landscape. Familiar pieces of history are transformed into compositions that invite viewers to consider not only where we have been, but where our stories might lead.

There is something particularly meaningful about this approach. Rather than allowing photographs and printed memories to remain fixed in the past, Nancey gives them new context and fresh possibilities.

Her art does not replace history. It builds upon it.

And much like the traditions of Gullah storytelling, quilting, music, and other forms of cultural expression, each element contributes to a larger story of identity, creativity, and connection.