A Chicago and Milwaukee native, Buie earned her BA from Western Illinois University and her MFA from the University of Wisconsin-Madison. She has attended artists-in-residency programs, such as the Joan Mitchell Center in New Orleans, LA; The Women’s Studio Workshop in Rosendale, NY; the Vermont Studio Center in Johnson, VT; and Project 1612 AIR in Morton, IL.   Buie has received numerous awards such as; an emerging artist Mary L. Nohl Fellowship in 2012, the Love of Humanity Award from the Greater Milwaukee Foundation and the prestigious Joan Mitchell Painters & Sculptors Grant in 2015, the 2019 Kresge Artist Fellowship in the Visual Arts, the 2019/2020 Grant Wood Fellowship in Printmaking at the University of Iowa in Iowa City, IA, the 2020 Fellowship.art award, a top accelerator award/program funded through gener8tor, and the 2023 Ruth Arts/Mary L Nohl Alumni Award.

Buie has mounted several solo exhibitions including two 2021 solo exhibitions: Embodiment(s) at the Freeport [IL] Art Museum and Re/Faced at the South Bend [IN] Museum of Art.  She has contributed to many group exhibitions including A Contemporary Black Matriarchal Lineage in Printmaking Exhibition at Highpoint Center for Printmaking in Minneapolis, MN (2021) Printmaking in the Twenty-First Century at the Detroit Institute of Arts in Detroit, MI (2022) Get Together at Reyes Finn in Detroit, MI (2023), Stop Making Sense, PLUS 1 at the Janice Charach Gallery, West Bloomfield Township, MI.  Buie has also maintained a connection to the community by hosting printmaking workshops and demonstrations throughout the country and have been board members of Southern Graphics Conference International, Kennesaw, GA, and Bronzeville Center for the Arts, Milwaukee, WI.  Buie’s work has been acquired by major institutions and private collections nationally and her work has been reviewed on Hyperallergic.com and featured on Essay’d.com and New American Paintings No. 155.

Currently, Buie is an Associate Professor in Printmaking at the Rhode Island School of Design in Providence, RI. 

Artist Statement

With an acknowledgement of Afro-Futurism, the use of technology enables me to consider alternate inclusive versions of the world where the invisible is made visible.  Video, print media, painting, drawing, collage, screen-printing, and Deep-Fake technology constructed from excerpts derived from social media and black popular cultural platforms, while inevitably altering the images to reflect the contemporary condition, through accessible tools such as smartphone applications ReFace, constructs an intersectional identity between self-portraiture, personal narrative, pop-culture, Black cultural significant moments, social movements, and authorship allows me to challenge my history through the retelling of past and current events, by the remaking of images, sound, and text, as I reimagine the future.

Due to the importance of maintaining a connection to the community, my research practice must engage the public.  This is done by hosting community workshops, engaging in public art specifically for marginalized and underserved communities, accepting guest curatorial opportunities with inclusive practices only, and facilitating zoom lecture events such as The Role of the Traditional Gallery amid George Floyd and Black Lives Matter Protests: What Now? July, 2020. And Printmaking & The Politics of Protest: A Conversation with Shepard Fairey, April, 2021, which is shared online and accessible for all.