Practice Statement


Life progresses forward, being propelled by fundamental questions like who am I and why am I? The complexity of identity and our desire to feel whole is a thread that connects us all. We are all always searching and attempting to complete this puzzle. Within this search, I wonder what the complete picture looks like. What does it look like to show up in the world wholly? That is the question I am interested in answering. 



Gardens of Grief  2020–2021






Grief can be understood as a process of relearning one’s sense of self after a loss has occurred. Interpretations of grief often sit in relation to the passing of loved ones while denying the complexity of what can be lost. Within a society that relies heavily on domination, loss is positioned as an inherent constant that many navigate daily. Within my current body of work, Gardens of Grief, I explore grief as a continuum. I lean into this constant fragmentation as a place of triumph, rebirth, and space for ancestral knowledge to pour through. Within these explorations, I investigate the lack of space to process grief in a culture of domination and the things that grow from it.

Each piece functions as a capsule that captures the many facades of loss. They hold paralyzing tides of pain, sadness, anger, and acceptance. The triumph of surrendering to the abstraction of self-ties back to visual abstraction traditions within the African-Diaspora. There is strength to pull our collective understanding of abstraction as a means of capturing both the representative and spiritual.

My work explores wholeness at the intersection of seen and unseen. Pushing against binary understanding, it collapses the internal, external, and immaterial nuances of identity. By leaning into rituals of abstraction, I present work that suspends portraits of self in simultaneous states of coming together and falling apart. In this continuum of abstraction lives an expansive understanding of an existence that is inherently liberatory, triumphant, and healing. It is self not bound by the limits of the psychical body.




















Each piece functions as a capsule that captures the many facades of loss. They hold paralyzing tides of pain, sadness, anger, and acceptance. The triumph of surrendering to the abstraction of self-ties back to visual abstraction traditions within the African-Diaspora. There is strength to pull our collective understanding of abstraction as a means of capturing both the representative and spiritual.

Each piece starts from tangible representation, featuring an axis line, figure, and typography. The axis line is a symbolic anchor that fragmentation spills from.  Both the body and language are pushed through layering that creates motion and establishes the sense of something actively falling apart while coming back together. The color that envelopes these symbols represents the friction produced by movement and unseen energy sources at play. Burlap functions as the base of each piece. There is an intervention of the visible grid structurethat is interrupted by cuts along the access line and unwoven sections.  In many ways, the gridded fabric speaks to domination culture's framework. The act of stiffening the fabric amplifies this intervention andsits as a gesture of creating space where there seemingly is none.