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 Art historical references surface frequently as I rework wide-ranging sources from Assyrian sculpture to the Netherlandish Renaissance.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.

My work is about attention span, babies, canaries, description, extracts, filters, grouping, hums, importance, jelly, kerning, looming, motion sensors, nerves, order, parity, qwerty, respite, smallness, stillness, tact, understanding, vanity, the West, xenophobias, yeses, and zeros.

I create paintings of sun-drenched domestic spaces that celebrate the quiet moments of everyday life. My paintings are an opportunity for me to play with and piece together things I love into a painting: books of favorite artists, coffee cups and candlesticks, walls filled with family portraits, and art by friends. I wear my influences on my sleeve, sometimes using a Vuillard inspired pattern and including his book open on the table or showing a favorite Lois Dodd piece on the wall of my kitchen. I use light and pattern as tools for abstraction.

Plaster is to a house as fabric is to a quilt; both are materials transformed to aid our need for warmth and shelter. In my work, paintings are images sprung from recollection and fantasy, while objects encompass real and psychological rooms. Each manifestation reflects a distinct place and period of time, while all of the work assembled evolves over time. My work allows a viewer to use commonly understood symbols and mementos in order to freely associate with their own identities and stories. I want my work to challenge how we name a thing through the re-contextualization of materials.

My work dwells in a liminal space—a barren "Umwelt,” that should elicit a feeling of discomfort, dread, or foreboding.

I make 2D paintings of 3-dimensional shadows of 4th dimensional events.

My paintings are collages of inherited memories, framed like a photograph, by symbols of post-colonial history. I grew up in Guayanilla, Puerto Rico, a land marked by the colonial labors of sugarcane production. Through painting, I explore my culture, connection to family, nostalgia, love, and grief. The places I depict are collages of memories and imagination. My paintings are a connection to my family’s oral history.