Sunken is a series of portraits on paper inspired by my research about the Zong massacre of 1781 in which 133 slaves were killed by their British slave ship crew. These works are a testament to the resilience of the Africans who survived the Middle Passage.

Find Me A Constellation delves into to lives of children who experienced American slavery. Models for the portraits were sourced from archived images of enslaved children. Because the harsh realities of slavery may be inescapable, the only way to find internal peace was through daydreaming and the stars.

My story quilts narrate the life of Nat Turner and his 1831 rebellion.

Black Magic examines the role religion has played throughout American history. The figures represent the Nat and Cherry Turner and how they use religion to escape the bonds of slavery, both real and imagined.

Joy Cometh in the Morning is a series of works paying homage to the enslaved blacks whose lives were lost as a result of Nat Turner's rebellion.

This series of works were inspired by James Weldon Johnson's poem "Lift Every Voice and Sing" which is often referred to as the "Negro National Anthem."

co|patriot is a collection of work inspired by Stephen Towns' readings of Harriet Beecher Stowe’s “Uncle Tom’s Cabin”, Solomon Northrup’s “Twelve Years a Slave”, and Harriet Ann Jacob’s “Incidents in the Life of a Slave Girl”. These classic works have helped to inform and broaden Towns’ view of the systemic oppression that has affected contemporary Black Americans. Each work of art examines the relationship Black Americans have had with their country and history, both known and lost.

co|patriot is a collection of work inspired by Stephen Towns' readings of Harriet Beecher Stowe’s “Uncle Tom’s Cabin”, Solomon Northrup’s “Twelve Years a Slave”, and Harriet Ann Jacob’s “Incidents in the Life of a Slave Girl”. These classic works have helped to inform and broaden Towns’ view of the systemic oppression that has affected contemporary Black Americans. Each work of art examines the relationship Black Americans have had with their country and history, both known and lost.

Family Quilt explores the inter-connectivity of familial and ancestral relationships. I am interested in the idea of the importance of one connecting to one’s ancestral roots. Historically, African-American families were torn apart do to the slave trade. African-Americans were prohibited from learning to read or write. Family members were often purchased or sold with no regard for the "family unit." Therefore, there is the question of how does one connect to their ancestral roots if family history has been lost or unrecorded. The collection contains a series of portraits of my family members, both by blood and marriage. Each was personal explorations of my relationship to my family. The shapes and patterns in the painting were loosely based on African patterns, images of structural DNA, and fingerprints.

These works are an exploration of the idea of "colorism" and "brown bag parties" within Black America. The concept of lighter skin tone being "more beautiful" and "desirable" is cross-cultural and exists all over the world. Castes systems developed as a result of this way of thinking. These are a series of mixed-media pieces. The portraits are both acrylic and oil paintings and the backgrounds are made up of paper grocery bags. Each subject's skin tone is being "tested" against the paper bags.