My artistic practice is structured by Black lived experience as a way of knowing rather than as a subject to be illustrated. I approach this experience as layered, relational, and unfinished, privileging forms of knowledge that circulate through sound, memory, movement, and repetition. Core to my work are overlapping conditions—sound, diaspora, embodied experience, history, memory, and political consciousness—which shape how Black knowledge is expressed, carried, and protected across time. Rather than producing fixed documentation, I am interested in how meaning emerges through duration, proximity, and variation.
Much of my recent work investigates Black social life through fragments of interaction: cropped photographs, found sound, gestures, and partial views that foreground what happens between people rather than within isolated subjects. I treat speech, movement, and proximity as improvisational structures akin to jazz, emphasizing relational exchange over singular representation. This methodology reflects a broader concern with how knowledge circulates outside institutional clarity, through shared understanding and lived practice.