Alisa McCrary is a visual artist from Detroit, Michigan. Her creative journey began in middle school through a passion for anime and character design, which sparked a deeper interest in drawing and world-building. She earned her Bachelor of Fine Arts from Michigan State University, with a primary concentration in painting and a secondary focus in ceramics. Her interdisciplinary practice also includes printmaking and digital illustration, showcasing a versatile approach to material and form.
McCrary’s work is rooted in the exploration of Black historical narratives and speculative fantasy, often merging the two to construct reimagined worlds. Her debut solo exhibition, Haunting Myths and Histories, was held at the Kresge Art Center and investigated the intersection of memory, mythology, and Black identity. She is a recipient of the Ralph Calder Scholarship, awarded in recognition of her artistic promise and academic achievement.
As an artist, my practice centers on the exploration of Black historical narratives. These stories encompass both the haunting echoes of Black horror and Black Joy. These thematic interests are deeply rooted in my desire to portray nuanced representations of the Black experience. In addition, I am compelled by the horror genre, not only for its emotional intensity but for its ability to externalize internal turmoil. I am also invested in constructing original Black fantasy characters that exist outside of dominant cultural narratives and are instead grounded in imagination, myth, and liberation. A final component that weaves throughout my work is the use of pattern and repetition.
My inspirations span across disciplines. The work of Cheyenne Julien captivates me through her stylized, often caricatured portrayals of everyday Black life, layered with psychological tension. Amy Sherald’s striking use of pattern and vibrant color fields inspires how I approach compositional design and surface treatment. Jordan Peele’s mastery of psychological horror fascinates me, particularly the emotional gravity conveyed through actors’ facial expressions, controlled color palettes, and dramatic lighting. These cinematic tools parallel many of the strategies I employ in my own work.
Historically, my practice has been driven by an introspective impulse: translating the inner workings of my imagination and emotional states into visual form. Much of this took shape through depictions of Black women in imagined spaces which are often surreal or fantastical, always emotionally charged. These works frequently referenced horror, not as spectacle, but as a manifestation of inner struggle. Pattern and Repetition plays a huge part in my art, but it is not always consistent. What has remained consistent is my emphasis on dramatic lighting and carefully curated color palettes, both of which serve as directional cues for viewer interpretation. A recurring motif in my work is the mermaid which is an emblem of beauty, mysticism, and longing.
As I move forward, I am actively working to expand my visual language to more intentionally include expressions of Black joy. While historical trauma is central to many of the narratives I engage with, it’s equally important to imagine and depict moments of celebration, rest, and resistance through joy. This shift is about balance and recognizing the weight of our histories without allowing it to eclipse our capacity for wonder and resilience.