Memories, 2011 (I) is of the Memories collection; nostalgic keepsakes from a previous period in time that embodies the quintessence of living in Baltimore City and in Maryland more broadly across eras. The photographs carry remnants of a life moving through familiar spaces while linking everyday environments and fleeting moments across time.

Through visual observation, Ebony captures ephemeral instances even when subjects notice or acknowledge the presence of the camera. Taken in 2011, the images now hold the realization that each person photographed is more than fourteen years older. Their younger selves remain suspended in time, preserving who they once were and a version of a life once lived.

Together, the photographs represent the heart of the city and of Maryland as a whole alongside the everyday people who inhabit and inhabited the landscape they knew and know as home.

Memories, 2011 (II): A continuation of Ebony's collection, Memories.

Memories, 2011 (III): A continuation of Ebony's collection, Memories.

Memories, 2012: A continuation of Ebony's collection, Memories.

In The Universe Knows Her Name, Ebony explores perception, interiority, and the body’s relationship to light and space. These photographs were created by positioning the camera above the artist as she lay on her back with her hands extended toward a television screen displaying cosmic imagery. The final images were rotated 180 degrees; additionally, some images were horizontally mirrored. The images produced an optical illusion in which the figure appears upright and suspended, as if floating toward the illuminated screen. In subsequent variations, light is refracted through prisms and layered across the face, further bending orientation and dissolving the boundary between body and atmosphere. The rotation becomes not only spatial but perceptual, destabilizing gravity while maintaining stillness.

By reorienting the frame, the work disrupts spatial logic while remaining grounded in a lived domestic environment. The bedroom becomes both physical setting and psychological landscape. Blending documentary presence with surreal abstraction, Ebony uses light, shadow, and stillness to suggest ascent without spectacle. The cosmos functions as both image and atmosphere, evoking interior expansiveness within an ordinary room.

Ebony's snippet (from a sizable physical collection) of saved digitized photographs taken during middle school while attending an afterschool B&W film photography program in Southwest Baltimore. Shot on a point-and-shoot flash camera. 

A continuation of Ebony's collection, Memories 

While living in Columbia, Maryland for 13+ years (2012-2025), Ebony bought her first camera in 2016, a Fujifilm X-Pro2. One of her earlier works taken with the camera was a collection of candid moments captured of a young girl, named Angel, known through a relative/mutual neighbor friendship; living and navigating around the neighborhood on a typical August summer day. As the group strolled around the neighborhood, Ebony chose to focus her lens on Angel because of the girl's initial quiet and reserved nature and the joyful contentment she found in listening to music on a cell phone. After documenting the young girl for some time throughout the day, she then became more observant and comfortable with the camera by allowing Ebony to capture a portrait of her. This impromptu moment is significant to Ebony and further shaped her visual narrative as a candid/documentarian photographer because of the intimate and quiet observation/documentation of the subject's movements, feelings, and moments living candidly and carefree on just an ordinary day, while unraveling openness and comfortability during the process that builds trust and connection with the subject and photographer. 

Ethereal is Ebony's series collection of B&W photos taken between 2020 to 2022 that combines her documentary and experimental/surreal work using abstract techniques (i.e. motion blur, direct light sources, and prism refraction.)