"Draw what you see, not what you think!" This was the repeated instruction from my tutor when I interned with him at 13. He would constantly remind me whenever I strayed from the traditional approach to drawing and representation. That instruction stayed with me for years until I realized I was free to express myself however I desired.

The idea of constructing the recognizable human form using shapes and structures that deviate from classical representations excites me. The geometry in my portraits is intentional, creating space within the figure while working toward solidity with a sense of veneration. My work exists to celebrate the existence of ideas represented by people—ideas centered around the edification of Blackness and aging.

The Black elder carries a rich narrative within their figure or portrait. Their presence tells stories that guide future generations, offering wisdom on navigating life’s struggles. The aged Black figure holds joy, sadness, peace, and turmoil. In contemporary African art spaces, there is often an emphasis on depicting Black joy and everyday Black or African experiences. However, I strive to portray them as fully realized individuals, capable of more than a singular emotion.

I define my work as venerating—a celebratory act that uplifts and honors aspects of the culture I admire. My paintings are an expression of my childhood and my African heritage, shaped by the conscious and subconscious curation of my lived experiences. This personal connection to my culture is reflected in the matriarchal figures that define my practice. These figures do not represent specific individuals but rather embody concepts such as communal traditions, mythology, social living, and the practice of oral storytelling.