My work takes a critical view of social, political, and cultural issues through story; slices of life, and moments of voyeurism. Often times these themes are approached through a sense of irony. All of my works are in some way linked by recurring formal concerns through the subject matter. The composition is of course influenced by said subject matter. Each series often consists of multiple works, often in the same range of medium, grouped around specific themes and meanings. Through research and production, new areas of interest arise and lead to the next body of work. I am a storyteller whose practice is peppered with a bit of mystery. The idea of discovery through pictures is what drives my endless desire to create.
I use my practice to examine history and current events, sometimes based on social inequalities. My primary focus is to reveal the beauty of a people where it’s not normally celebrated; to juxtapose imagery that is uplifting against that which is not. My work is for all humans. Though not entirely, my work focuses predominantly on humans of African descent. The work is predominantly figurative. In the past, I’ve used motion picture, still photography, writing, and painting to articulate my ideas and concepts.
I enjoy pushing the envelope on topics that I feel should constantly be investigated, improved upon, or eradicated, such as racism, sexism, and religion.
In 2005 I spent a month abroad in Austria studying a painting technique that I now use in my work called the Mischtechnik. The Mischtechnik is the mixed application of egg tempera and oil glazes. The technique lends itself to my meticulous nature.
The tempera enables me with the ability to render the cartoon in great detail. The oil paint, of course, provides me with the buttery lushness that comes with the medium. The mixture of the two affects the painting in such a way that uniquely sets itself apart from the traditional oil painting or egg tempera picture.
Imagine the whitest white or the warmth of the Sun, serving as the glue that binds the underpainting together. Then imagine adding green or blue; the feeling of a cool breeze against a freshly cut lawn. You take these things and envelope them in the story, then you allow your audience to receive it however it comes.