Artist Statement
My practice is a process-driven meditation on the exchange between extrinsic social constructions and the intrinsic structures through which identity is formed. Working through the lens of the Black experience in the United States, I approach painting as both an inquiry and a proposition—an evolving methodology that resists static definition while remaining grounded in material and historical specificity.
Rooted in archival research, my work engages acts of aesthetic care, using fragmentation, repetition, and reconstruction to navigate the instability of memory and the incompleteness of historical record. I am interested in how images, objects, and surfaces can function as sites of both rupture and repair—where the past is not simply revisited, but actively reconfigured. Through an improvisational approach to traditional techniques and materials, I allow the work to emerge through layering, revision, and duration, creating compositions that hold the record of their own making.
Painting, for me, is less a finite destination than a launching ground—one that expands into constructed forms where surface, structure, and material presence operate in tandem. This expansion reflects a broader concern with how objects exist in the world: not as images to be consumed, but as things that insist on becoming. In an era shaped by automated systems and algorithmic aesthetics, I remain committed to a practice that privileges tactility, resistance, and specificity—producing work that cannot be easily replicated or reduced.
Ultimately, I aim to create objects that function as temporal waypoints—markers of presence that hold space for complexity, contradiction, and transformation. These works operate as quiet assertions of being, resisting erasure while proposing new conditions for how identity, history, and material can be understood in relation to one another.
