My work delves into the intricate relationship between color psychology, the range of human emotions, and the profound yearning for mental escape as comfort. This exploration manifests in two distinct series, each identifiable by its unique use of color and thematic focus. The first series, "Spectrum," is an introspective journey into human consciousness, seeking to understand and depict the intense emotions we experience through carefully curated monochromatic color schemes. Each piece in this series is a study of how a single color can evoke a powerful emotional response, complemented by emotive textures that add depth and complexity. The monochromatic palettes are meticulously chosen to reflect specific emotions, inviting viewers to immerse themselves in the feelings conveyed by each hue.

The second series, "Distraction," offers a stark departure from the introspection of "Spectrum." While "Spectrum" embraces and examines the full range of human emotions, "Distraction" seeks to provide an escape from them. This series creates surreal, otherworldly scenes that offer relief from the emotional intensity of everyday life. The colors in this series are more varied and saturated, often drawing inspiration from the vibrant and dynamic visuals of cinematography. "Distraction" is about creating new realities, disconnected from our own, allowing viewers to momentarily step into a world of imagination and fantasy.

Both bodies of work are rooted in extensive research. For "Spectrum," I study the psychology of color and emotion, often conducting interactive surveys to gather data on how different colors are perceived and what feelings they evoke. This research informs my choices in color and texture, ensuring that each piece resonates on a profound emotional level. For "Distraction," I immerse myself in the study of various eras and styles of cinematography, seeking to create visually compelling and imaginative scenes. I begin each piece with photographs, which I then transform into manipulated paintings. By tweaking intentional details within the images, I play with the viewer’s perception, introducing subtle discrepancies that encourage a deeper examination of the scenes.

The question specifically I'm trying to answer now with my practice is how many images does it take to flush out a narrative; to give my viewer just enough to put the pieces together. I want to create work that forces people to fill in the blank and try to answer their curiosities that are presented when they view it. My goal is to create immersive experiences through paintings that resonate with people on a profound level. I aim for my art to be felt and remembered, transcending the traditional aspects of identity like race and belief. As an African American artist, I have often grappled with the expectation to conform to a particular style or subject matter. Now I am choosing explore beyond.

James Baldwin once said, “The role of the artist is exactly the same as the lover. If I love you, I have to make you conscious of the things you don't see.”  I am now and artist that makes work that makes my audience question what they see and how they feel. By challenging their perceptions and evoking introspection, I aim to create a space of relatability. In essence, my work is a dialogue between color and emotion, reality and fantasy, perception and introspection. It invites viewers to embark on a journey through the spectrum of human experience, encouraging them to see the world—and themselves—in new and profound ways.