My work investigates my fascination with how cultural norms shape our perspectives on black women. The work primarily takes the form of drawings, paintings and occasionally prints. The work depicts women doing odd or violent or strange actions. The figures humorously pee in a corner while you look; other times they scream wielding sharp axes in their hands. Their positions question who can do what in art ,and at large, culture. Taking notes from Kara Walker, Wangechi Mutu,  and Peter Paul Reubens. Wavering in loose gestural marks and stylized faces. The figures bear these uncanny and unnerving grins, they’re completely aware of a viewer's gaze. The figures are often turned at a three-quarter view, both in their own space but always keenly aware of the viewers. Tightly cropped around the bodies, they suck you in with their entrancing returned gaze. By Referencing artists such as John Currin and Lisa Yuksavage, the style of the figures balances between tangible and fantasy. Blistering reds, warm sienna, layer on top of grassy greens and sky blues. The application of the material in the drawings is rougher, emphasizing the contours of the figure, adding dimension.The paintings are large-scale and hang on the wall higher than normal; forcing the viewer to look up at these women and admire them. 

Radiating out from white supremacy, the status quo of whiteness keeps black women on the opposite end. Intersecting at the crossroads of sexism and racism, I find myself navigating moments of joy and horror. My work prioritizes representing a range of emotions and situations the black female figures sit in. I don’t want to be a hopeful black woman for anyone. For once, I just want to sit with these feelings. Sitting off kilter the work in its figuration surprises, insults, indicts, uplifts and loves the viewer. There’s contradiction but consistency, pulling back and forth on feelings of despair, dread, love, grief, pride, anger and fear.