Being a young African-American male has it's many stereotypes. Through my day to day I deal with an internal battle about what other people see when they glance at me. What do they label me as? And why do they label me at all? I see people of my same skin tone, some great, others destroying themselves and others around them. Why is it that those who aren't doing so well, are the ones that people often base their judgements on? This "helmet" protects me from these labels, and at the same time makes me vulnerable. There is no escaping these problems. When will I be able to lay this helmet to rest?

I want my body back.

"Let there be...," and then there was...Man was born from the Earth. Here I meditate on my own birth from the clay I was molded from to this living being caught between clarity and the blindness or veil that's been cast over our eyes once we lose our innocence.

I am intrigued by the idea of a personal mythology; which often comes from dreams, and the creation of a new global mythology that meets the needs of today. Using ideas from many myths and cultures spread throughout the world is important because I am trying to relay the message that our beliefs are all saying the same messages calling for all-inclusiveness, and a love and respect for all of nature’s creations.

"Genesis" is the beginning of me illustrating my personal mythology.

This is the second part to Genesis. The being has risen from the Earth, curious and anew. Ready to explore the new environment surrounding him.

I was so interested in what I had begun with this series illustrating the birth of man, I felt the immediate need to make a second part, and so on. The environment is very similar, but the being is now free to move, no longer weighted, given free will.

I relate the freedom of this being to my realization of the freedom I gained with my eyes being opened to the truth which is the presence of racist colonial ideas still prevalent in our society.

I am inspired by what it is to be human and animal, the sacred, the divine, Genesis, our past and our future, our wars, our psychology, and our relationship with and without nature. Within this body of work, that will continue throughout my career, each sculpture represents a part of me, what I believe it means to be human.

This work was sparked by my interest in the marble sculptures created by the great masters during the renaissance. Seeing them up close when I traveled to Italy last Fall, I was instantly inspired. The psychic energy that came from the figures as you stood in front of them. They seem like they are thinking, watching, and living.

When I came back to the states I knew I had to challenge myself to create something that had that same psychic energy, and strength, visually harsh and weighted, but also fragile. This caused me to think about the idea of the monument, and then of course, society and it's current state. The many relationships we have with different people coming from various cultures, religions, etc. I found myself burning with a need to show the diversity and potential of what it is to be human, because in the end that's what it boils down to. Regardless of race, or anything that may be different in each of us, we are all human and beautiful, even with our faults, it's what makes us unique and interesting.

My "Ancestral Objects" include sculptures that illustrate my personal mythology and inspirations from many world myths. Often times these objects become parts of my performance art, bringing new meaning to the objects and my understanding of my own spirituality and history.

"I Am Not a Rock" illustrates the hurt felt from a loss of ownership of one's being. The systemic brainwashing that takes place, causing us to live as false selves. In this performance, I aimed to discuss this very personally. How it affects my day to day living; my lack of comfort, and striving to make others comfortable, in particular, the groups of people who hate me. The groups of people who can't stand what I represent. The groups of people who fear anything with a shade of brown.

This performance is full of much bottled up angst. An angst that is shared among all oppressed peoples. It's an attempt to wake people up to those who are hurting around them.

"I Am not a Rock" is about an incomplete understanding and expression of myself, specifically as a black male. How this internal struggle has created a facade, a mask, lived behind day to day to make others comfortable.

I keep asking myself, "What is my truest, most authentic nature?" Whenever I answer this, I then ask myself, "Who knows you?" The answer: "No one. And the fault is mine."

Never hide. We all have our secrets. Love and respect all things, especially oneself.

During the Baltimore Uprising, I felt that a safe space had opened up in my city to express exactly how I felt about race and identity in relation to my own experiences, the recent atrocities against black bodies, and the general disrespect for life worldwide.

“Immure”, like much of my work plays with dual meaning and the nature of opposites. As a genderfluid artist, the idea that a whole, balanced being consist of both female and male aspects is very important to me; hence my use of triangles, and the eye symbol I use which can be shifted to become a womb. The cage I interact with in "Immure" is no exception. In one sense it represents oppression and incarceration, on the other it represents transformation; alluded to by the visual reference to crystals. One observer said it reminded them of Lemurian Quartz. The entering and exiting of the cage is also a reference to life and death, rebirth and enlightenment. The struggle is a direct parallel to the struggle to live in contemporary society.

During "Immure" I sing *The Dreamer* by *Jose James*, the lyrics say, "I saw the dreamer raise his hand, in a word full of possibilities..." I go on to sing, "...but those possibilities are not for me." I sing it almost as if it were a chant, repeating, and playing with volume. I’m born into such a rich society with so many doors to choose from, but all of them are so difficult for me to open even with a key.

The colors of my body make-up are important as well, representing my love of world myths and symbolism. The blue is a direct reference to Hinduism; the idea of all-inclusiveness, and the character of Krishna; often depicted as a god-child, a prankster, a model lover, a divine hero, and/or the Supreme Being. The gold represents parts of my body that I feel are adorned inappropriately or controlled by the oppressor.

I am intrigued by the idea of a personal mythology; which often comes from dreams, and the creation of a new global mythology that meets the needs of today. Using ideas from many myths and cultures spread throughout the world is important because I am trying to relay the message that our beliefs are all saying the same messages calling for all-inclusiveness, and a love and respect for all of nature’s creations.

"Ancestral Unity" is the first of a series of steel costumes. My intention with these costumes is to bring together themes and ideas from the many cultures inspiring me at a particular time in my life. As with many of my works, they become parts of ritual in my performances.

I Am Mountain, originally performed by Bobby English, Jr. at Transmodern Festival in Baltimore, MD, is the sequel to the performance I Am Not a Rock. I Am Mountain illustrates the different aspects of the internal struggle of being a black male in society striving to succeed. The performance goes through stages of meditation; being mindful of the world in which one lives and striving for transcendence. The performer climbs to the top of the mountain; showing the ascent to success, as well as the vulnerability of being in such a position. The performer also goes inside of the mountain for protection, for a sacred space that is less vulnerable. Ultimately, the burden is real. One's mind, body, and soul must be ready at all times in this world.

The "Blossoming Black Power Series" is a continuation and illustration of my personal mythology; because of that it is constantly evolving. The character that I embody within this series is a shamanistic healer, a revelator, very much informed by the history of the world and it's mythologies. The mask, inspired by the crane, represents longevity, endurance, family, and is said to be able to reach the heavens.