FEATURED THIS WEEKEND AT:
THE WAIT WE CARRY
THE WAIT WE CARRY is an ongoing interrogation of the psychological and generational burdens that Black communities shoulder in America. The very title, "The Wait We Carry," is a deliberate double entendre. It speaks to the interminable injunctions placed upon us—to wait for justice, for recognition, for dignity—while simultaneously referencing the immense psychic weight such waiting imposes.
“My camera is my instrument of protest, my images; a call to witness.”
The photographs themselves are constructed using a lexicon of contemporary image-making: double exposures, layered symbolism, selective color, and typographic elements. These devices are not merely aesthetic choices but intentional strategies to collapse time, evoke multiplicity, and foreground the complexity of Black subjectivity; blurring the line between past and present.
These choices are not merely aesthetic; they function as metaphors for the layered and textured experience of being Black in America. The iconography—helmets, duffle bags, boxing gloves—serves as semiotic anchors, referencing both the mental and physical fight that seems to be embedded in every day life.
This series is inseparable from the socio-politically charged context in which it was created. The Black Lives Matter movement, the murder of George Floyd, and the ongoing pandemic are not simply reference points; they are foundational texts for these images. Each image is a response, a visual essay, a site of both mourning and resistance. I refuse the notion of artistic neutrality; my camera is my instrument of protest, my images a call to witness.
VIEW THE ENTIRE SERIES BELOW
My camera operates as both document and protest, bearing witness to trauma but also to resilience. Language, too, is integral to my practice. The titles—“Heavy Wait Champ,” “Now I Lay,” “King Dom”—are more than wordplay; they are acts of reclamation, challenging the weaponization of language and reimagining it as a tool for empowerment. I am interested in how these linguistic gestures can both unsettle and inspire, reflecting the dualities at the heart of Black existence.
“Each image is a response, a visual essay, a site of both mourning and resistance. ”
My practice is deeply invested in the politics of representation—foregrounding Black and Brown bodies as protagonists in narratives that are too often rendered invisible. Conceptually, the series is anchored in the tradition of socially engaged art, drawing lineage from the likes of VanDerZee, Parks, and DeCarava, whose work functioned as both documentation and protest. My practice extends this legacy, not only chronicling the visible realities of Black life but also excavating the interior landscapes—those spaces of waiting, longing, and, at times, exhaustion.
My aim is to create mirrors—spaces where Black and Brown viewers can recognize themselves not as abstractions but as nuanced, complete human beings. I want viewers—especially those who rarely see themselves reflected in museum spaces—to recognize their own complexity and worth. This series is an invitation: to see, to feel, to reckon, and, crucially, to reimagine what it means to carry both the wait and the weight of history. Through this work, I seek not only to document pain, but to offer a visual vocabulary for endurance, transformation, and the radical possibility of joy.
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