My studio practice is rooted in sustained exploration, guided by a framework of evolving categories that I continually revisit. Figurative sculpture, vessel collections, and large-scale installations of porcelain wings coexist within this ecosystem of making. Drawing and painting persist at the periphery—disciplines that inform the sculptural impulse and extend its language.
Recent work centers on the female form, a fascination first kindled during my early career in fashion photography. These figurative sculptures engage the feminist canon, reflecting on the complexities of women’s experiences while celebrating women’s agency. I am drawn to compositions that fuse elegance with formal rigor—poses immortalized by master photographers, reimagined here through a lens of materiality and gesture. In this way, my earlier visual training finds continuity in clay.
Narrative and activism underpin much of my practice. I respond to dialogues surrounding social constructs, particularly those involving feminism, gun violence, and civil rights. My own African ancestry activates examination of colorism, caste, racism, nurture and nature, multiculturalism and humanism. My work investigates identity’s layered terrain—how women perceive and sustain one another. Certain pieces adopt a confrontational stance, deliberately unsettling the viewer as a means of provoking reflection and, ideally, social change.
Recurring motifs—porcelain wings derived from the white dove, a universal symbol of peace—manifest across scales, from intimate assemblages to expansive wall installations. These forms meditate on fragility and transcendence, on the tension between aspiration and vulnerability. Earlier installations, such as series of cast high-heeled shoes, examined power, constraint, and agency within feminist discourse.
At its core, my practice is sustained by curiosity and risk. I continually test the limits of clay—its bodies, surfaces, and processes—allowing experimentation to unsettle expectation. Through this openness, I seek discovery: moments when material, concept, and gesture converge to articulate something both unexpected and inevitable.