Black Sounds I, II
I(right), II(left)
8 in x 9 in
black and white card stock
2019
Connecting to Ebonics (the black language) and gaining an inspiration from the N'ko and Ge'ez language and script of West Africa, these pieces connect words, sentences, and phrases inspired by events and real life conversations that have effected the lives of African Americans within Baltimore, Maryland, and Pine Bluff, Arkansas streets.
Theses two pieces represent a conversation as a code language, while slowly trying to chip away representation and the conversation of African American people within the "American Space".
Angular Progression
Angular Progression centers around the movement of music structure. It takes inspiration from jazz improvisation, the static sounds of classical composition, and angular pitches. It also captures the playfulness of music theory, while trying to simplify its sometimes complicated concepts.
over and again I, II
I(right), II(left)
5 in x 7 in
color paper on bristol paper
2019
tonal diffusion
6 ft x 7 ft
acrylic ink, Indian ink, butcher paper, yarn, graphite pencil, alcohol based marker
2019
to descend, to ascend
7 ft x 23 in
mesh, construction paper, acrylic paint, graphite pencil, alcohol based marker, yarn, on unprimed canvas
2019
U CAN'T STOP US
5.5 ft x 4 ft
wooden dial, primed canvas, aluminum sheet, yarn, acrylic paint, graphite pencil, alcohol based marker, glitter, card-stock
2019
This artwork is a response to peaceful protest due to the death of young black men in Pine Bluff Arkansas. It elaborates on the negative "noise" on race within a community, while still establishing a sense of peace. The background reveals a crime scene and body markings traced with yarn; while the drip markings paint "the noise", the bold text and flowers give a sense of peace.
