There’s a difference between being known and being known of.

Building on this truth, my work seeks to celebrate the captivating complexities of what it means to be Caribbean. Using personal and family photographic archives and anecdotes as source material, I give space to lived experiences in the tropics as they exist within, and often against, fabrications of paradise.  Employing the aesthetics of Bahamian Junkanoo, I layer paradisiacal visual motifs with culturally specific materials and ecological imagery to craft compositions highlighting moments of the mundane with trauma-processing and surrealism. The resulting texturally dense images complicate the widely celebrated natural landscape of the Bahamas; underscoring that idyllic environments hold a more visceral truth beyond the touristic gaze.

My practice meditates on the difficulty in distinguishing between which experiences influence, rather than define our sense of self. When it comes to establishing who we “are”, where do we enact our personal agencies to adlib, and when do we “follow the script” of who we should be? Pivoting from the micro to the macro, I commonly operate within the realm of self-portraiture as a conduit to exploring themes of societal consciousness. In this modality, I aim to illuminate the dissociative qualities of self-examination, while also seeing this mode of figuration as a space for empathy, and a tool for personal reclamation and autonomy. By working within this dialogical space, my practice serves as a reflective pathway to questioning our capacities for healing, cultivating, and nurturing individual and collective narratives and identities.