The work emerges through reconstructive memory—a methodology that weaves together lived experience, inherited knowledge, and speculative reimagining. This approach honors memory's fragmentary nature while creating space for narratives that official archives have marginalized or erased. I employ artistic technique, personal recollection, and imagination as equally valid tools for reconstructing worlds that exist within and beyond documented history.

My practice encompasses two primary modes of creation. First, I engage in archaeological remembering—excavating and recreating the world I knew intimately, including its shadows and contradictions. This work tends toward the gothic, confronting intergenerational trauma, economic hardship, and the particular grief embedded in Southern Black experience. Second, I employ speculative fabulation (the use of storytelling to address historical omissions or injustices) to imagine alternative possibilities—envisioning worlds that might have existed without the constraints of poverty. This becomes reparative imagination, creating visual space for joy, abundance, and fulfillment that may have existed in fragments or could have thrived under different circumstances.  Working primarily on paper, I begin with printmaking to reconstruct photographic source material, which becomes the substrate for painterly intervention. My material palette includes acrylics, inks, markers, and natural pigments