Fran Singer is a regular 8th grader, when suddenly, everything changes. A tragic accident with major consequences shoots her out of her ordinary world into one racked with guilt, shame, and complete alienation. Starting over after all that is not easy—but is it possible? Will Fran’s life be better, the second time around?






I am deeply involved in a year long quest to attain a higher level of Spirituality into my paintings. 
I have sought out the poetry from a single modern mystical poet as visionary inspiration for a large series of paintings .
I am employing three important areas in my process:

* The Investigation of Light via Color
*The Poet as Muse
*The Restating of Image via the Compositions recorded in the History of Art

As I paint,my focus becomes energized by emerging visions,two dimensional canvas becomes a three dimensional cube of light.
--A finalist for the 2021 St. Lawrence Book Award from Black Lawrence Press--

This short story collection borrows its title from the mythical setting of The Book of Job in the Old Testament. The Land of Uz is a place of improbable, almost comical misfortune. There, you suffer arbitrary punishment at the hands of a capricious God. He kills your family and robs you blind. He covers you with boils! It is a place of loneliness, absurdity, and bad skin.

This body of work weaves traditional and new media to present a visual experience about the institutions, educators and progenitors who shaped how Baltimore’s Black community acquired formal training and knowledge.  In addition to a critical examination of historical and contemporary segregation in Baltimore City public schools, strikeWare tracks the nine students who graduated from School Number 1 in 1889 - Baltimore’s first all-Black high school graduating class.

In 2018, with fishTank, we transformed Baltimore’s infamous, and now defunct, Marble Bar space into an immersive environment with interactive works intending to communicate the feeling of being underwater.

This site-specific public art project on view from 2020 - 2021 at the Center for the Study of the American South intervenes throughout CSAS’ location in a historic home on the campus of the University of North Carolina at Chapel Hill. The installation encompasses sculptures that evoke the historic fire screens found in house museums from the antebellum era in the United States, as well as a wallpaper display that depicts an illusory excavation into the walls of the building. 

Every layer shows a new choice; it’s a record of my decisions. History is a complicated thing; it is almost always told from the perspective of the dominant power. Showing the history of my hand is a way to tell my own story, my own history. I also dig back into the layers or cut and paste older works to reveal the past. My work is personal, and some of the layerings are meant to reveal and later protect or hide information. This collection of images shows how over time individual artworks take on diffrent iterations.