My work lives at the intersection of memory, Black life, and everyday beauty. I am drawn to the things we carry—scraps of fabric, stories told in passing, photos tucked into the pages of a Bible—as sites of meaning, resistance, and joy.

I work through archival methods both formal and informal: scrapbooking, oral storytelling, performance, and Black domestic traditions of keeping. I am interested in how Black families—mine included—have long practiced self-documentation in the face of erasure. I understand these acts not only as survival, but as creativity, love, and care.

Through The Things We Keep, I explore the blurred edges between research and ritual, between what is remembered and what is reimagined. I am interested in memory as a living practice: tactile, embodied, imperfect. My creative process is often slow and sensory—gathering, listening, reworking. I follow threads, listen for ghosts, and trust the weight of what wants to remain.

I make to remember, and I make to feel closer—to my people, to myself, and to a future rooted in tenderness.