Portrait(s) Divine Mother 2024

"Portrait(s), Divine Mother," featuring 16 photographic self-portraits  pays homage to my matriarchal lineage, Caribbean Shaktism, and the profound familial narrative intertwining them. Scheduled for a solo exhibition at BlackRock Center for the Arts this project explores the scarce stories from my mother's childhood, including healing a limp arm through a gold arm offering at a temple in Guyana. Through this endeavor, I aim to honor the spiritual heritage of my family while unraveling the personal significance of our family history. Our ancestral worship derives from Shaktism, a spiritual tradition venerating the divine feminine through goddesses like Mariamman and Kali. Raised in a female-dominated household, I am driven to dig into this practice, celebrating the Divine Mother and its profound influence within our familial and spiritual realms.

"Portrait(s), Divine Mother" utilizes a process of capturing, printing, and scanning self-portraits to engage in a dialogue centered on preservation and storytelling. I pay homage to the vibrant goddesses revered in Shaktism by emphasizing yellow hues, replacing my studio's printer’s black ink with yellow. Finally, I print the scanned images on metal and fabric, further imbuing the artwork with a profound sense of ancestral resonance while transforming the photograph into a three-dimensional object with weight and substance. I aim to evoke a profound connection to my cultural roots and ancestral lineage, celebrating the enduring legacy of Caribbean Shaktism and the divine feminine within my identity.

Portrait(s) Coated (2023)

In 2023, I took a distinct turn back towards experimentation and one-of-a-kind peices.  In the spirit of creative play, I prioritized the joy that art-making and the exploration of materials can bring.

With a deep fascination for the materiality of paper and its inherent duality as both a two-dimensional and three-dimensional medium, I embarked on a creative exploration that resulted in the birth of unique sculptures and photographic collages. These artworks are not only a celebration of paper but also incorporate unconventional elements such as cement, resin, and studio debris.

Central to my practice is the belief in self-sufficiency, where every aspect of the creative process unfolds within the confines of my studio. This commitment to a self-sustained practice allows for a  connection between myself and the materials I work with, fostering a sense of ownership over each creation.

Throughout the year, I remained rooted in the ongoing exploration of self-portraiture, endeavoring to push the boundaries of my artistic expression. These one-of-a-kind pieces reflect a desire to embrace both the expansiveness of my vision and the authenticity of physical form.

Photographic Collages, Enamel Paint & Cement/ Plaster/ Resin on Wood Board


Photographic Collages, Enamel Paint/ Fabirc/ Resin on Wood Board

Archival Pigment Prints 

Monoprints on Mixed Media Paper

Photographic collages, Hand Dyed Gauze with Enamel Paint and Acrylic Paint on Stretched Canvas

Portraits, Contact (2022)

In "Portrait(s), Contact 2022," I introduce a dynamic integration of gestural materials, such as paint and oil pastels. Through this unique approach, I redeine the conventional sanctity associated with archival imagery, boldly leaving my physical mark upon the pictorial plane. During the creation of my works in 2022, my artistic journey predominantly unfolded within the confines of the studio. I only occasionally ventured outside to print archival versions of my studio actions. These archival prints serve as a response to the inherent impermanence of my 2021 works, ensuring their enduring legacy. The intricate process involves printing, enhancing through painting, cutting, or dissolving the photograph, and finally scanning to create a meticulously preserved archive. The result is an archival print that outlasts the original, challenging preconceptions regarding authenticity and value.

Throughout this series, I pose questions that dissect the essence of the original, explore the true nature of a photograph, and unravel the intersections where illusion and authenticity entwine. I closely examine how scanned artworks manipulate our perceptions of the real and the artificial. As a Black woman navigating diverse spaces, I contemplate the moment when my artistic work is recognized as authentic, original, and invaluable. This ongoing exploration remains at the heart of my artistic practice, inviting viewers to join me on a journey of introspection and discovery.

Portrait(s), Adhered (2021)

In early 2021, I embarked on my artistic journey with the inception of the "Portraits, Adhered" series. This project defies conventional photographic methods by embracing nontraditional techniques that involve digital capture and the direct affixation of self-portraits onto wooden boards using a medley of materials such as wheat-paste, PVA glue, clear acrylic gesso, and staples. Through this unconventional approach, I set out to challenge the prevailing material hierarchies entrenched in contemporary image and media consumption.

The backdrop of self-isolation that permeated this period compelled me to channel my introspection into the ongoing creation of this series. Within "Portraits, Adhered," I transform the image of myself into a dynamic landscape ripe for abstraction and deconstruction. By reimagining my self-portraits in this manner, I strive to provoke contemplation about the multifaceted nature of personal and societal identity.

This artistic exploration has led me to uncover the sculptural dimensions hidden within the realm of photography. By melding the two-dimensional and three-dimensional aspects of the medium, I have transcended traditional boundaries and breathed life into images that transcend mere representation. Through experimentation, innovation, and a deep desire for self-examination, "Portraits, Adhered" has become a testament to my unwavering commitment to disrupting norms and pushing the boundaries of artistic expression.