About Tish

A Living Archive of Ancestral Knowledge and Ritual Practice

Leticia R. Benson  is an artist, writer, and cultural archivist working at the intersection of ancestral memory, ritual practice, and speculative futures. Her work treats art not as representation, but as function. Objects, texts, garments, and research operate as technologies for remembering, protection, and continuity.


Her practice is rooted in the belief that Black cultural knowledge has always contained its own systems of intelligence, transmission, and survival. Through what she names Hoodoo Technology, Benson approaches spiritual practice as an applied methodology. One that holds history, myth, labor, and care inside usable forms.


She is not interested in aesthetics divorced from meaning. Each body of work functions as a record. Each object carries lineage. Each gesture participates in a larger archive.

Leticia R. Benson  is an artist, writer, and cultural archivist working at the intersection of ancestral memory, ritual practice, and speculative futures. Her work treats art not as representation, but as function. Objects, texts, garments, and research operate as technologies for remembering, protection, and continuity.


Her practice is rooted in the belief that Black cultural knowledge has always contained its own systems of intelligence, transmission, and survival. Through what she names Hoodoo Technology, Benson approaches spiritual practice as an applied methodology. One that holds history, myth, labor, and care inside usable forms.


She is not interested in aesthetics divorced from meaning. Each body of work functions as a record. Each object carries lineage. Each gesture participates in a larger archive.

Art as Ancestral Practice

Benson’s work is informed by formal training in anthropology and dramatic writing, alongside lived study of ritual systems, Black performance histories, and domestic knowledge passed through generations. She draws from the intellectual and spiritual legacies of Black women whose work refused institutional containment and treated culture as living practice.

Lineage, Research, & the Living Archive

Her long-term research project, known as The BLOOD LIBRARY, functions as a living archive. It is a conceptual and material space where ancestral memory, prophecy, dream language, and speculative narrative are held together. Rather than preserving history at a distance, the archive is activated through objects, writing, scent, sound, and use.



This work does not separate the personal from the political. The domestic from the cosmic. The past from what is still forming.

Objects as Ritual Technology

Within Benson’s practice, garments such as aprons and skirts are not decorative or nostalgic. They are functional artifacts. Designed to be worn, worked in, and lived with, they operate as protective tools and mnemonic devices. Each piece is constructed with intention, encoding research, ritual knowledge, and symbolic language into form.


These works are created slowly, without replication at scale. They are meant for those who recognize their purpose without instruction.


Orientation and Patronage

Benson does not position her work for mass consumption. Her practice speaks to patrons, collectors, and collaborators who already understand the role of art as stewardship. Those who recognize lineage as value. Those who understand patronage as responsibility.


Her work remains grounded in Houston, while extending beyond geography. The archive is ongoing. The practice is alive.



Those drawn to this work are invited to engage with Benson’s offerings as they would any living archive. Through objects, writing, and ongoing research, the work asks to be encountered slowly and with intention. This is not an introduction meant to explain, but an opening for those who already recognize what is being held here and are ready to enter into relationship with it.


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