I am a figurative painter with a particular focus on self-portraiture and the intersection of self-conception and the physical environment. I think of my work as being primarily about spaces. In my portraits, the figure often takes a secondary role to the interior or exterior atmosphere in which I position myself. These settings are crucially informed by my own experiences, memories, and travels. Growing up in the South to a blended Black and Swiss family, much of my identity was constructed through a process of self-invention to which

 I use the visual language of architecture and the literal physicality of building materials to create collaged drawings and site-specific installations. I am interested in transitional spaces and the homogenization of place in addition to pushing and playing with the boundaries of drawing, sculpture, and installation. I use formal gestures of erasing, overlapping, layering, stacking, leaning, and cutting, and saddle them with the task of depicting our compromised narratives within our built environments.

 I use the visual language of architecture and the literal physicality of building materials to create collaged drawings and site-specific installations. I am interested in transitional spaces and the homogenization of place in addition to pushing and playing with the boundaries of drawing, sculpture, and installation. I use formal gestures of erasing, overlapping, layering, stacking, leaning, and cutting, and saddle them with the task of depicting our compromised narratives within our built environments.

 I am driven by the idea of the forced and voluntary migration of people from the Caribbean region and the struggle to navigate spaces that are both familiar and unfamiliar. My work is invested in strategies for survival, the relationships humans form with other creatures and with the natural environment, and the influences these elements have on the formation of identity within the spaces we inhabit. I am particularly intrigued by mimicry in nature and the ways in which plants, insects, and animals utilize it to survive.

 My work gestates in the space between the dream world and our experience of history, memory, and propaganda narratives. Here spirits play at the edges of the psyche, born out of anxiety, whimsy, spiritual yearning, and sexual fantasy. I seek to project vibrations that echo our disorganized and unfocused consciousness, and murmur with the promise of stranger forms yet to be conceived.

 I build paintings using graphics almost entirely from video games I’ve never played. I work not from a sense of nostalgia but rather from a late twentieth-century shape of thought, augmented by art history, that best describes how I feel visual cognition and memory factoring into the mechanics of understanding paintings. I sift through decades of screenshots and sprite rips to pick out objects with potential to build meaningful images, but my ultimate concern is the visual. I love the lightly abstracted distillations of familiar objects, which I think of as having been

I make fantastical paintings that explore femininity, transformation, and the more-than-human world. The smooth surface control of my work contrasts with imagery that is often cheeky, strange, and exuberant. Art historical references surface frequently as I rework wide-ranging sources from Assyrian sculpture to the Netherlandish Renaissance.

In my work, I engage with sites of improbability—places that exist between the visible and invisible. I am interested in the experience of dreaming and how we attempt to represent the experience in waking life. In particular, I am informed by Kabbalistic and parapsychological theories, which explore the mind’s ability to access hidden realms of knowledge and communication. In my paintings I imagine placing an object behind an X- ray, revealing imagined barriers and making visible their overlaps.

My work addresses and explores my personal experiences as an African American male living with Sickle Cell Anemia. Within my work I use the figurative forms of the sickle and normal cell in environments that depict the internal states of being that I’ve experienced throughout my lifetime. I explore abstract realms such as uncertainty, desire, longing, faith, perseverance, structure/lack of structure, fragility, and conflict through the process of painting.