Temporary Sculptures Pt. 4, Miami (A Performance), 2022
Shifts in Obscurity
Every Fall the graduate programs at MICA host exhibitions that highlight the work of year one and year two students. Last year in our group show, Personal Perspective, I presented my short film, Falling Apart, Putting Together, (2020) along with one photograph from The Self Portrait Series, (2018) and two photographs from In Between, (2020).
This year for our show, Shifts in Obscurity, I decided to debut my most recent work, Temporary Sculptures Pt. 4, Miami (2022), presenting it in its full form through performance, photographs, and sculpture.
Watch the installation process here.
Shifts in Obscurity was shown at Fox Gallery 3, Baltimore, MD from October 6-17th.
A Group Exhibition
Get In Where You Fit In
Earlier this year I was asked by curator Thomas James to participate in the group exhibition, Get In Where You Fit In: An Exploration of Form by Black Women Artists, at the Brentwood Arts Exchange Gallery in Prince George's County, Maryland.
I will be showing THREE performance pieces, Untitled (Coast Movements West), 2021, Blue Like Some Part of the Ocean, 2020, and Temporary Sculptures (A Performance), 2021.
Over the summer I presented six photographs from my series, Temporary Sculptures, in the group exhibition, Elements of Renewal at Fig & Oak, Los Angeles.
Featuring seven artists, Elements of Renewal "is a proposition to deepen our connection with ecological landscapes, build conscious relationships with nature, and initiate intimate connections with the land that birthed its communities."
It was truly a beautiful exhibition and I am honored to have been a part of it.
See Elements of Renewal here.
Elements of Renewal
Curated by Breeana N. Thorne
Elements of Renewal was shown at Fig & Oak, Los Angeles
from July 14th - August 31st
A First in Print
In February I was asked by my good friend and talented writer, Lyndsay Knecht to do a studio visit for her upcoming article in the Dallas-based art magazine, Patron Mag. She was writing a story on the renowned and legendary artist, Senga Nengudi, who recently won the prestigious Nasher Prize.
Lyndsay recognized the influence of Nengudi in my most recent body of work with nylons and eggshells and found the connection of Nengudi's impact on a younger generation of artists.
I am honored to be featured for the first time in print!
Read Elements of Influence here on pages 86 - 89
that were coming, of all the dreams that I was running to, semester two came
and went too soon and I caught myself swooning over the past and over the semester that just passed
oh semester two, how I knew you wouldn't last, yet still prayed for time to slow down to accept my path, accept that I am worthy of rest, that the universe has my back and I could cry in my studio, wipe my tears and
head to class.
dear semester two, i knew year two would come too soon, I was stressed, I was worried, was I worthy of all the things
oh semester two,
I saw my mother in you.
the fragility in you,
year two came too soon.
A Podcast: The Truth in This Art
Finally, after years of practicing (to myself), I gave an interview on a podcast for the first time.
In April I was asked to be a guest on the Baltimore-based podcast, The Truth in This Art, hosted by Robert Lee.
Tune in to hear about my first year in grad school, where my art practice started, and where my art-thought process is going.
"6 Emerging Black American Artists to Keep On Your Radar"
OpEd: A MONUMENTAL WOMAN
I am thrilled to announce that I am featured in Cultured Mag's Emerging Black American Artists list!
Read more about my practice and influences, here.
Special thanks to Dominque Clayton and her endless support and love. I appreciate all that you do.
Last November I wrote an OpEd about the artist and architect, Maya Lynn's, Vietnam Veterans Memorial. Between the conservatory and lack of women artists' presence in DC's monument scene, I questioned, who chooses what and how we remember the history of this country...
Dig in here.
a short writing titled "here"
Dear Semester One,
Here is where it felt like home in a new city. Here was exactly where I was supposed to be. I was learning more about myself and excited to discover, uncover, and find every part and all the parts. My professors and director gave me words to sit with. Sentences that lingered into my studio and spun around my head, arms, hands, legs and feet. Performing, thinking, writing, painting, making. I was doing it all. I was surrounded by artists who existed in their own right. I was a part of a new community - a community I had dreamt about for so long. Showing up here was never hard, but something I looked forward too. I was falling in love with grad school.
I had a studio with two large windows that brought in light throughout the day. Lines of light in yellows, oranges, and pinks hit my walls, where my art was constantly being arranged, added too, or taken away... I've cried in here, laughed in here, had some life changing conversations in here. I felt my mother in here. Oh, how I miss her. Oh, how it took only one semester to make me smile again. I finally felt excited about life and this new book I was beginning, that was being written every day, with every moment, every breath. With every tear and every fear, I was moving forward. Surrounded by love, abundance, and belief. Semester one exceeded my dreams. I love it here.
A Perfomance to Keep
Untitled (Coast Movements West), 2021, is available to collect through Dominique Gallery on Infinite Objects.
Untitled (Coast Movements West) is an edition of 15, 8.4 x 5.8 inches.