About
Shara Lunon is a transdisciplinary artist, musician, and curator based in Brooklyn, NY. Her work lives at the intersection of experimental sound, poetry, visual art, and community practice, shaped by the evolving legacy of Black American musical traditions. Whether working as a composer, improviser, or vocalist, Shara approaches the voice as both an instrument and a channel—an intuitive tool for storytelling, memory, and emotional depth.
Known for her inviting presence and exploratory spirit, Shara’s creative process thrives where the personal meets the collective, where ancestral knowledge meets new technology, and where chaos edges into clarity. Across her solo work and collaborative projects, she uses improvisation, found materials, and immersive sound to ask deeper questions about identity, care, and transformation.
Shara is also the founder of Heavy Florals, a music and performance series centering experimental Black and Brown artists. As a thinker and writer, she regularly reflects on the creative process and the politics of art in public-facing essays and blog posts. Her artistic collaborations include work with Ches Smith, Luke Stewart, Shahzad Ismaily, Chris Williams, Lesley Mok, Laura Cocks, and the International Contemporary Ensemble.
Her work has been featured in The Gothamist and supported by organizations like OneBeat, Metropolis Ensemble, Amanda + James Pollinate Residency, and Papillon Farm. She’s a recipient of the American Composers Forum Create Grant, the Audiofemme Agenda Grant, and the MATA Presents Grant (in partnership with Roulette Intermedium). Shara is currently preparing new solo material and developing work with her ensemble History Dog and her punk band Blasé.
Artist Statement
I come to art in search of freedom.
In every medium– sound, text, image, or gathering, I am looking for moments where I can move without restraint, where possibility expands. My hope is that through this practice, others might feel safe enough to do the same: to breathe differently, to imagine differently, to feel a kind of freedom in themselves.
Sound is where I most often begin. The voice is my anchor. Restless, pliant, full of memory. It cracks, bends, and improvises. It finds routes where there were none, it holds histories too heavy for silence alone. Around it I weave electronics, fibers, found objects, and visuals: materials that let me explore contradiction and transformation. In them, I honor Black cultural memory while also carving space for futures beyond erasure.
I move through liminal spaces; between disciplines, between identities, between what is broken and what can be remade. As a biracial artist, I am fluent in in-betweenness, and I treat that uncertainty as fertile ground. In those unsettled spaces, I find ways to cope, to resist, to transform, to turn contradiction into possibility.
Collaboration is vital to me—not just as a method, but as a way of living against isolation. Through projects like Heavy Florals, I help nurture spaces where Black, Brown, and allied artists can gather, share, and build sanctuary together. These are not only spaces of production; they are places of renewal, where freedom becomes a practice we can hold in common.
What I want, always, is for the work to be an opening. An invitation to sit inside complexity and still feel expansive. A reminder that even in contradiction, even in struggle, we can find freedom, and together, we can choose to remake the world.