Award-winning interdisciplinary artist Tiff Massey is making waves in the art world with her unique blend of adornment and creative expression. As the first Black woman to earn a Masters of Fine Arts (MFA) in metalsmithing from the Cranbrook Academy of Art, she explores identity, culture, and scale through various mediums. In her latest exhibit, 7 Mile & Livernois, currently on display at the Detroit Institute of Arts through May 2025, she brings to life elements of her roots based on growing up in one of Detroit’s most notable and thriving Black neighborhoods.

Tiff’s love for bold adornment and her journey from metalsmithing to large-scale sculptures have helped shaped her artistic vision. With a focus on Black opulence, community preservation, and pushing creative boundaries, she celebrates the city’s rich culture and her personal story through her art.

In this exclusive interview, Massey provides a glimpse behind 7 Mile & Livernois by discussing her identity as an artist and delving into the inspirations behind her work.

Source: – Photo Credit: Taizon Taylor / Taizon Taylor

MadameNoire: Let’s take it back to what made you Tiff Massey. What inspired you, and how did you land your exhibit in one of the most prestigious museums here in Detroit, the Detroit Institute of Arts?

Tiff Massey: It’s hard to say because my art journey wasn’t linear. My mom played a big role in encouraging me to attend Mercy High School in Farmington Hills, where I was introduced to the torch for the first time. That sparked my passion for fire, metal, and eventually jewelry-making, which later evolved into large-scale sculpture. After high school, I initially pursued a Bachelor’s of Science with the intention of becoming a veterinarian. To break up the monotony of biology and chemistry, I took more metalsmithing classes. Thank goodness I did, because after graduating, I spent a year mixing chemicals at Washtenaw Community College. I completed that work quickly just to get back to the metalsmithing studio. I’d say high school truly ignited that initial spark. Transitioning from jewelry to large-scale pieces was about not quitting and exploring what jewelry could be—pushing the boundaries of adornment.

Source: Whatupdoe, 2024. Stainless steel. Photo Credit: Taizon Taylor

MadameNoire: You aptly named your exhibit “7 Mile + Livernois,” a prominent neighborhood in Detroit. How did growing up there influence this exhibit and your broader artistic vision?

7 Mile + Livernois represents where I grew up and shaped my love for fashion. Detroit is a stylish city—everyone creates their own look. No one wants to copy anyone else. My parents played a huge role in this, especially my dad, who was always stunting. He drove Cadillacs, wore flashy outfits, and even had a personal jeweler. My fascination with oversized jewelry stems from childhood visits to Greenfield Plaza and seeing the scale of those pieces. My work connects contemporary fashion, the Diaspora, and even traditional adornments from Africa. I wanted to highlight that uniqueness, especially since art school often focuses on a white gaze. Flipping that script to show the Black gaze is powerful and meaningful.

Source: – Photo Credit: Taizon Taylor / Taizon Taylor

MadameNoire: Speaking of repping your set and fashion, your personal style is as bold as your art. How would you describe your aesthetic, both in how you present yourself and in your work?

I’d describe myself as a peacock—bold but not intentionally flashy. I’m drawn to black and gold, an influence I got from my mom. I dyed my hair blonde around her birthday in 2017 or 2018, partly as a tribute to her. I wear vintage Cazal glasses because they’re what she used to wear, and when I wear my dad’s jewelry, it’s a way of honoring both my parents. My exhibition’s promotional photos often featured me in my mom’s mink with my dad’s jewelry, which reflects what Detroit style means to me—true Black opulence.

Source: – Photo Credit: Taizon Taylor

MadameNoire: Your work is rooted in Black opulence. How do you define opulence within Black culture, and how does it inform your art and personal expression?

Black opulence is all about style—the sauce we bring whenever we step out. It’s in the meticulous decisions we make about how we look, from hair to outfits. We invest time and effort in looking our best, and it’s part of our culture, especially for women. From braids to beads, cornrows, and gravity-defying styles, our hair tells a story. It’s not just about aesthetics; it’s about honoring traditions. That’s why my exhibitions celebrate our flair and uniqueness—our style is undeniable, and it deserves recognition.

Source: Tiff Massey, (American, b. 1982). Baby Bling, 2023. Metal beads, woven rope, brass. (Taizon Taylor)

MadameNoire: Your work often merges art with community engagement. How do you hope this exhibit will spark conversations about community, especially regarding Detroit’s transformation and Black identity?

A big part of my art practice is about preserving Black spaces. I’m currently working on creating permanent spaces that reflect what you see in my exhibitions—places where we don’t have to worry about being pushed out in a few years. These spaces will include educational elements, ensuring our aesthetic is acknowledged and appreciated. I want people to see themselves reflected in the art and know they belong. My work isn’t about exploiting the community; it’s about enriching it and honoring Detroit’s unique spirit.

MadameNoire: What impact do you envision these spaces having on local residents and the wider Detroit art scene?

My goal is to create spaces where people see themselves and their culture celebrated. It’s about creating opportunities, whether that’s learning a craft, starting a small business, or just having a space to gather and express ourselves. Detroit is known for its hustle, and I want these spaces to reflect that. They’ll be about making a positive, lasting impact, not just in the arts but across the community.

Source: I’ve Got Bundles and I Got Flewed Out (Green), 2023. Canvas, Kanekelon, beads. (Taizon Taylor)

MadameNoire: You’re an interdisciplinary artist, working in jewelry, sculpture, and public installations. What drives you to push boundaries, and how do you decide which medium to use for each project?

The material often dictates the message before I even manipulate it. For example, using kanekalon hair speaks to a specific community and culture. I love working with brass—it’s a material I have a deep connection to. Being interdisciplinary gives me room to explore and tell stories from different angles. Sometimes, a subject demands a specific material or requires extensive research, but I always follow where the story leads. I see myself as a storyteller, and my mediums allow me to bring those narratives to life.

MadameNoire: Art is deeply personal and subjective. How does your journey as a Black woman from Detroit show up in your work, and what do you hope people take away from it?

A lot of my jewelry pieces were originally made for myself. They start at a wearable scale and then evolve into larger sculptures that engage the viewer in new ways. I didn’t want to be limited to being seen as just a jeweler; I wanted to explore the broader concept of adornment. My work celebrates Blackness, from cultural rituals to symbols of status like the Cadillac emblem or Fulani earrings. These objects aren’t just about wealth—they’re about history, culture, and identity. Detroit’s fashion, hair, and hustle are central themes, and I want viewers to feel pride in our shared heritage. Our style, creativity, and resilience are second to none, and my work aims to amplify that.

Source: Everyday Arsenal, 2018. Steel. Photo Credit: Taizon Taylor

MadameNoire: What advice would you give to aspiring artists, particularly young Black artists, who are trying to find their voice and navigate the art world?

I’d say you have to make art like nobody’s watching. You need to truly live and breathe it—this isn’t just a job. Sure, it can operate like a business, even a big corporation if you reach that level, but if you don’t believe in what you’re creating, why would anyone else? Also, don’t view your colleagues as competition. Everyone has their own journey and story, and the sun shines on everyone. If you’re hungry and dedicated, you’ll go get it.

One thing I stand by is consistency, and I’m proud of my craftsmanship. You need to learn your skill, your trade, your genre, and fully commit to it. I remember friends asking why I was always in the metal studio, but now they see why. Take yourself seriously—more seriously than anyone else. If you hear a “no” now, it doesn’t mean it’s a “no” forever; it could turn into a “yes” later. You have to put in the work. It’s called an “art practice” for a reason—you have to practice.

MadameNoire: If you could collaborate with any artist, living or dead, who would it be and why?

Probably Issey Miyake, the fashion designer. I love what he does with form and the concept of function. I’m really into fashion, so he’s definitely at the top of my list.

Faith Ringgold would have been amazing to work with—she recently passed away, but she’s an inspiration.

And then there’s Martin Puryear, a Black sculptor who works mostly in wood. He has an incredible sense of scale that aligns with the kind of contemporary space I’m thinking about. He’s always been an inspiration.

Source: – Photo Credit: Taizon Taylor / Taizon Taylor

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