“Art is not always about pretty things. It’s about who we are, what happened to us, and how our lives are affected.” —Elizabeth Broun, art historian and curator

Through drawing, painting, printmaking, and ceramics, I explore the connections between home, heritage, and identity. Each medium allows me to approach memory and emotion from different angles: ceramics grounding me through touch, printmaking through layered narratives, and drawing and painting offer immediate, intimate marks. This interdisciplinary approach reflects both my creative curiosity and the therapeutic principles I study, helping me express experiences that require more than one visual language.

My practice is rooted in reclaiming my artistic voice after years shaped by caregiving, family expectations, and self-sacrifice. During that period, my creativity often lived in the background. Making art now allows me to revisit memories, emotions, and stories that once remained quiet, transforming them into physical form. In doing so, I honor my Southern Black upbringing—its sense of community, resilience, and storytelling—while redefining my identity as an artist in the present.

I begin most works with observation and reflection, often referencing personal photographs, life drawings, or moments from daily family life. These images become studies of gesture, presence, and connection. From there, I select the medium that best serves the idea: carving lines into block prints, etching into scratchboard, or shaping clay with my hands. Each process demands its own rhythm—printmaking with its intention and planning, scratchboard with its slow, careful strokes, and clay with its responsive, tactile nature. Across these methods, memory moves from thoughts to form through structure, line, and texture rather than sentiment alone.