When I was growing up in Senegal, I would climb to the roof of my apartment building to sit and drink my coffee in the afternoon sunlight. Now, the sun streams through the windows in my studio, casting golden rays on many paintings of the sky that I’ve made. When real sunlight moves across a painted sky it creates an ethereal loop, as if the sky is looking in on itself. In other windows, sunlight gets caught in the curtains, saturating the fabric with a yellow glow and distorting the shadows cast by the trees outside.

 Through painting, sculpture, installation, and performance, I explore the story of human creation and survival across time. My research into global mythologies and art history views the various objects and artifacts we have created as fragmentary vessels of our collective identity: surviving wars, neglect, iconoclasm, and the forces of nature. From these echoes of events, a portrait emerges of ourselves across time.

 Personal Effects is a new iteration of Roberto Jamora’s series titled An Inventory of Traces. An attempt at committing important events of his life to memory via painting, for Jamora, each gradient is a vignette of an experience, place, or person. Paint mixed with pumice gel is swiped across the canvas. Simultaneously, illusionistic space is anticipated and denied; a thin trace of color is revealed and color triggers recollections.

 Half Light. Like trying to remember a dream that is fading fast or wondering if a memory is true or invented, this work is fueled by a combination of personal narratives blended with scenes from mythology, the occult, paganism, historical folklore, urban legends, and bedtime stories of witches. These pieces address moments too difficult to describe, where elements come together to create surreal and otherworldly experiences.

 My work investigates the fractures and joinery between myself and the world around me in order to challenge the nature of my character. Oily, high chroma paint articulates forms and environments characterized by their luminosity. It is through metaphor, color, composition, and light that the intimation of my work reveals itself.

 Memory is a shapeshifter. It is selective, fluid, fragmented, and temporal, warping time and carrying emotions from the past, the fleeting presence of the now, and the uncertainty of the future. My work exists in a liminal space where time is cyclical rather than linear. Through narrative oil paintings, I explore the phenomenology of time, memory, and spirituality, using the canvas as a portal into unseen realms that shape identity and connection. My vivid color palettes, layered compositions, and personal narratives guide viewers beyond a sequential timeline.

 My painting process looks at repetitive interactions with the natural world. Working within a landscape is a way to merge the line between self and environ-ment, between interior experience and exterior form. I see the environment as a tapestry that is dense and ever-changing, reflective of internal worlds and spaces.

 Each drapery is sewn from bed sheets and hangs freely over its own wooden wall mount. Raw fabric edges are finished with bias tape I cut, iron, and paint. Using fluid acrylics, I slowly paint in successive layers often referencing fragmented oral imagery.

 Berran’s work plays upon the transformation of visual material through processes of painting, drawing, collage, transfer, and printmaking. His paintings on canvas vibrate with a sense of controlled chaos: static held in the confines of careful construction. Using images originally pulled from sketches or photocopy collages, Berran builds up the surface of his densely concentrated compositions that yield the potential for the process to re-inscribe visual data as both dynamic and unwieldy records of infinite flux.

 At the core of my practice lies a fascination with uncertainty and transform-ation. Inspired by spontaneous combustion—where fragments merge together to form hybrids that defy definition—I seek to expand perceptions of the world, offering new insights into the human condition.