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2022 July. Oils on loose canvasm36”x36” A good portion of my work is influenced by my childhood memories of good country living. I spent most summers on my great-grandparents’ farm, picking berries and feeding chickens. My great-grandmother, mubba dear, taught me how to pluck and clean chickens, preserve jams, and sew. Rheumatoid arthritis keeps me from doing so many of the practices that we are slowly losing so I choose to immortalize them in my work.

2022. Oils, silver gilding, and plaster on 24x30" Masonite. Narrative:He entered the room and silence fell. Everyone straightened their backs and clinched their jaws in efforts to appear larger, more manly. His presence demanded their attention. It demanded respect. And they submitted to him before he spoke a single word. On display at Texas Southern University Art Museum for “Citywide African American Art Exhibition 2022”. June 17 through December 2022.

2022 January. Soft pastels on 24”x36" pastel board. Framed. Heaven is in between the legs of a Black woman. She is seduction. She is euphoria. She is god.

2021 October. Soft pastel on 24”x18” hardboard. Framed. Narrative: He ruled his flock of devotees with the fist of a god. Shrouded in the richest red fabrics from head to toe, his travels took him from the green mountains of Mali to the dune fields deep in the Sahara. Met with chants, bows, fruits, and fabrics, his authority was unchallenged. Who had not heard the tales of the Red Sultan of Agadez? Who had been favored enough to gaze upon his bronze face? Surely, they were God's chosen.

2021 December. Oils, plaster, and gold leaf on 24x48" stretched canvas This piece gives a node to Black worth in the Renaissance period in a contemporary fashion that highlights current cultural trends like hair and dress. It also gives a node to the tragic story behind Billie Holiday's "Strange Fruit“ and the plot to imprison her and how today’s racial climate bares little difference from then.

2021. Oils and plaster on 30”x24" hardboard Narrative: He entered the room and silence fell. Everyone straightened their backs and clinched their jaws in efforts to appear larger, more manly. His presence demanded their attention. It demanded respect. And they submitted to him before he spoke a single word.

2021 December. Soft pastel on 24”x18” hardboard. Framed. Narrative:Moorish people from across north Africa have been depicted in European art since Medieval times but most works place them in servitude, hidden within the shadows, or with exaggerated features meant to look unflattering. Black people were not afterthoughts to be thrown into the corner of a painting. We were and are worthy of being the focus. The color yellow is used in excess in the veil and background, melting as one.

2021. Charcoal, soft pastel, marker on 24”x19” Bristol. Framed. Narrative:I once knew a man who could take a few rough stones and some wire and make you an adornment that was fit for royalty. His hands were dark and worn from years of his craft. His head was always wrapped in linens from the northern shores of Africa. He shrouded his body in mud-cloth and silk. He whispered affirmations as he hammered and toiled. If you ever see him, give him my love.

2021. Concept sketch. Charcoal, 8.5x11”

2021. Oils on 30”x30” birchwood Narrative:The ancestors always return for their children. When separated from his tribe, language, and name he was tossed around the world and forced to adapt, making a way all while longing to return to the lands of his people. Great ancestor, show him the way. Direct him to liberation. Cover him on his journey home, whether physical or spiritual, so that he may never be lost again. Show him the way. Reproductions available ↓here↓

2021. Mixed media- Charcoal, soft pastel, & oil paint on 19”x27” paper A tignon is an 18th century headdress with origins in Louisiana, the Spanish Colonial Gulf, the Caribbean, and West Africa, mandated for racial and class profiling, to prevent free and enslaved women of African descent of adorning themselves and their hair. Tignon laws were enacted in 1789 to prevent colored women for fear of them seducing white men. In essence, the edict was an attempted ban on Black autonomy. Prints here↓

2021. 24”x36” Oils on stretched canvas Quarantine during the pandemic served as an opportunity for me to trace my lineage. Like most African Americans, family origins become fuzzy after tracing back five or six generations. “Follow you home “ is a part of the series, “Flights of antiquity,” which explores self-discovery and confusion often felt by people of lost lineage. From southern rural-Texas life to the shores of West Africa, this series depicts good and bad nostalgic narratives.

2019. Oils on 24”x24” round wooden panel This piece was meant to depict how ugly and beauty can co-exist in the same space and time. More politically-driven, I created this piece because of my love for my beautiful homeland yet my disdain for our war-torn villages. The destruction of these wars scar our children so deep and jade them before they have an opportunity to really see and appreciate the beauty that does exist around them.

2017. Oils on 20”x24” oval stretched canvas

2017. Oils on 18x24" stretched canvas