Proof of Existence. 2025. 24"x48"x4". Assemblage on Panel.
My Mythical Existence
My practice frequently employs recognizable items as metaphors for the biracial body. Dinosaurs are creatures that are scientifically proven to have existed, yet are culturally treated as a subject of debate or myth. I utilize this figure to articulate the dissonance of my identity: physically undeniable yet constantly questioned by a society obsessed with binary classification. Grounded in visibly chaotic environments, these figures navigate a geography that refuses to validate their presence.
My practice frequently employs recognizable items as metaphors for the biracial body. Dinosaurs are creatures that are scientifically proven to have existed, yet are culturally treated as a subject of debate or myth. I utilize this figure to articulate the dissonance of my identity: physically undeniable yet constantly questioned by a society obsessed with binary classification. Grounded in visibly chaotic environments, these figures navigate a geography that refuses to validate their presence.
Tethered. 2025. 24"x48"x4". Assemblage on Panel.
Isolation and In-Betweenness
In my assemblages, I often explore the topography of the boundary line. Figures mirror one another, connected by cords or tension-held wires that act as umbilical links. Here, I am the "central bead" — the element that exists permanently between two zones, unable to touch either. This visualizes the isolation of the "in-between," a state where the subject is visually bound to their origins yet exists in a provisional status, fundamentally distinct from them.
In my assemblages, I often explore the topography of the boundary line. Figures mirror one another, connected by cords or tension-held wires that act as umbilical links. Here, I am the "central bead" — the element that exists permanently between two zones, unable to touch either. This visualizes the isolation of the "in-between," a state where the subject is visually bound to their origins yet exists in a provisional status, fundamentally distinct from them.
Gotcha. 2025. 3"x3"x8". Assemblage on Wood Base.
You Loved Us When. 2025. 18"x48"x4". Assemblage on Panel.
Weaponized Nostalgia
I repurpose symbols of childhood innocence to critique the commodification of bodies. Here, stripping "My Little Ponies" of their nostalgia — transgressing their forms with paint or placing them in makeshift cages constructed of scrap wood — I reposition them as "workhorses." This shift references the forced labor of enslaved people and the modern continuation of that labor within the prison industrial complex, physically marring the innocence the object was meant to convey.
I repurpose symbols of childhood innocence to critique the commodification of bodies. Here, stripping "My Little Ponies" of their nostalgia — transgressing their forms with paint or placing them in makeshift cages constructed of scrap wood — I reposition them as "workhorses." This shift references the forced labor of enslaved people and the modern continuation of that labor within the prison industrial complex, physically marring the innocence the object was meant to convey.
Disputed Territory 2025. 48"x24"x4". Assemblage on Panel.
Color and Space
I use high-visibility OSHA regulation colors to map internal conflict. These safety colors are designed to imply a specific distance between worker and non-worker; I appropriate them to demarcate zones of racial tension. By applying paint in opposing directions and utilizing contrasting, hyper-saturated hues, I create a visual friction that mirrors the duality of biracialism — a collision of two opposing histories enacting their conflict within a single physical geography.
I use high-visibility OSHA regulation colors to map internal conflict. These safety colors are designed to imply a specific distance between worker and non-worker; I appropriate them to demarcate zones of racial tension. By applying paint in opposing directions and utilizing contrasting, hyper-saturated hues, I create a visual friction that mirrors the duality of biracialism — a collision of two opposing histories enacting their conflict within a single physical geography.
Siren's Call. 2025. 48"x48"x6". Assemblage on Panel.
Golden Affections
I employ gold leaf to mask the faces of doll heads or figures, disguising their original texture. This is a direct reference to the historical description of Thomas Jefferson’s "golden affections" regarding Sally Hemings. By gilding these figures, I interrogate the double-edged sword of the biracial body: asking whether the subject is being honored or defaced, and whether "golden" is a compliment or a fetishization of the exotic.
I employ gold leaf to mask the faces of doll heads or figures, disguising their original texture. This is a direct reference to the historical description of Thomas Jefferson’s "golden affections" regarding Sally Hemings. By gilding these figures, I interrogate the double-edged sword of the biracial body: asking whether the subject is being honored or defaced, and whether "golden" is a compliment or a fetishization of the exotic.
Soft Boundary. 2025. 12"x25"x3". Assemblage on Panel.
Trophy. 2025. 12"x25"x3". Assemblage on Panel.
Mechanics of Duality
My process of assemblage explores the methods by which disparate elements are forced to co-exist in space. Continuous lines or planes are often disrupted by the introduction of a third element — such as a dowel wrapped in plush skin or a foreign object piercing the structure. This demonstrates that "blending" is not a seamless transition; it is a rupture. The introduction of the third element renders the whole neither fully one thing nor the other, but an active transgression of the line.
My process of assemblage explores the methods by which disparate elements are forced to co-exist in space. Continuous lines or planes are often disrupted by the introduction of a third element — such as a dowel wrapped in plush skin or a foreign object piercing the structure. This demonstrates that "blending" is not a seamless transition; it is a rupture. The introduction of the third element renders the whole neither fully one thing nor the other, but an active transgression of the line.
Trafficked. 2025. 15"x15"x33". Assemblage on Traffic Cone in Wood Base.
Safety and Visibility
I heavily employ the visual language of OSHA safety standards — specifically high-visibility orange and traffic cones — to contrast with the invisibility of Black and Brown labor. The traffic cone is a tool of visibility, usually a symbol of protection, yet here it highlights a lack of safety. It serves as a beacon, drawing attention to the unseen structures and bodies that built the country, illuminating the "ghosts" in the machinery of American commerce.
I heavily employ the visual language of OSHA safety standards — specifically high-visibility orange and traffic cones — to contrast with the invisibility of Black and Brown labor. The traffic cone is a tool of visibility, usually a symbol of protection, yet here it highlights a lack of safety. It serves as a beacon, drawing attention to the unseen structures and bodies that built the country, illuminating the "ghosts" in the machinery of American commerce.
Ties That Bind. 2025. 14"x16"x48". Assemblage on Wood Base.
Material Nexus
By gutting plush toys and turning them inside out, I expose the material that creates their volume: cotton. For me, this material is a mediator, binding the stolen labor of my African ancestors to the stolen land of my Indigenous ancestors. The chaotic, raw presentation of this exposed "fluff" connects the debris of childhood play to the heavy economic burden of the American South.
By gutting plush toys and turning them inside out, I expose the material that creates their volume: cotton. For me, this material is a mediator, binding the stolen labor of my African ancestors to the stolen land of my Indigenous ancestors. The chaotic, raw presentation of this exposed "fluff" connects the debris of childhood play to the heavy economic burden of the American South.
Dead Weight 2025. 12"x4"x24". Assemblage on Wood Base.
Compliance and Tension
The feeling of danger in my work is literalized through physics. I create structures where heavy blocks or weights are tilted precariously above fragile figures; if the figure moves, the structure collapses. This visualizes the demand for "compliance" placed on biracial bodies. It captures the anxiety of a survival strategy that relies on absolute stillness to avoid being crushed by the weight of arbitrary social structures.
The feeling of danger in my work is literalized through physics. I create structures where heavy blocks or weights are tilted precariously above fragile figures; if the figure moves, the structure collapses. This visualizes the demand for "compliance" placed on biracial bodies. It captures the anxiety of a survival strategy that relies on absolute stillness to avoid being crushed by the weight of arbitrary social structures.
Provisional State (Blue Monkey). 2025. 16"x6"x24". Stacked Assemblage.
Structural Anxiety
My installations often lack permanent fixatives. Elements are stacked, leaning, or held together by exposed screws in temporary, site-specific configurations. This lack of structural integrity is intentional. It creates a tangible sense of precarity, forcing the viewer to navigate the space with extreme caution. This instability reveals that the racial caste system itself is a flimsy construction, composed of junk, and prone to collapse.
My installations often lack permanent fixatives. Elements are stacked, leaning, or held together by exposed screws in temporary, site-specific configurations. This lack of structural integrity is intentional. It creates a tangible sense of precarity, forcing the viewer to navigate the space with extreme caution. This instability reveals that the racial caste system itself is a flimsy construction, composed of junk, and prone to collapse.
Provisional State (Impaled Lamb). 2025. 5"x6"x18". Stacked Assemblage.