As a fiber artist, I have a “seed to art” practice. I create exclusively with natural dyes and pigments. To make my practice sustainable, I grow as many of my materials as possible. I began with cotton seeds and a variety of indigo that is found throughout West Africa. By growing my own plants I am able to ensure that they are appropriate for my climate and culture, honoring the landscape where I live. 

Utilizing natural dyes and various fiber techniques (surface design, embroidery, quilting, etc) allows me to explore my identity as a Black woman in the U.S., while reconnecting with my stolen heritage. I tap into a legacy that was maintained for generations, despite colonization. Like many Black Americans my history is unknown; as I piece together my works, I piece together my history. In addition to my handmade textiles, I also utilize embellishments that come directly from various African countries. The mixture of beads, textiles, and techniques are all indicative of the experience of being a Black American. Our lineages have been mixed until they created something new. As they were shipped as cargo,  I imagine our ancestors prayed fervently, first for themselves, then for preservation. As they were forced to abandon their cultures, they salvaged what they could in secret. Through my practice I have begun to reclaim their lost prayers. 

My work focuses on the ways we as Black Americans continue to preserve the legacy that our ancestors maintained despite everything. By utilizing traditional techniques, I pay homage. I grow ancestral plants, relearning their names and purposes, honoring the stolen sacrifices. My art practice is an exercise in decolonizing the way Black Americans see themselves, how they fit into the American experience, and how they apply the past to build a better future. 

BIO

As long as I can remember, I have been creating. It’s the one thing that has always come naturally to me. Throughout my lifetimeI have explored various art forms, drawing, painting, foundry, etc. But the one that speaks most to my soul is fiber arts.

Growing up my mother was an avid quilter, and she also sewed a lot of my clothing. While the processes were always interesting to me, it wasn’t until college that I found my calling in the fiber arts. Particularly with embroidery, weaving, dyeing, and screen printing. Later I learned that my enslaved ancestors likely worked on indigo plantations. Which led me to inquire more about their textile knowledge and eventually learning that my African ancestors, specifically from Nigeria and Mali, were also indigo and textile artisans. Bringing my relationship to the fiber arts full circle. Helping me to reconnect with, and mend the parts of my roots that had been lost for so long.

I grew up between the Bay Area and Wichita, shuffling between my never married parents. Isolated from extended family, on both sides, I began to ponder my existence, considering those who came before, and who I wanted to become for my potential children. I considered the unnamed ancestors and what they may have hoped for my future. I considered the things they were denied and was determined to  make sure that their sacrifices weren’t in vain. 

As a child my mother would take advantage of the opportunities for free admission to take me to various museums and experiences around the Bay Area. Ensuring that I received more education than what was simply available in the public school system. Around 14 years old I saw Kara Walker’s work, for the first time, at the SFMOMA. This was a transformative experience for me, as it was in this moment that I realized I could also be a Black woman artist showing in museums. 

Armed with consideration for history and future, I create a variety of fiber based works depicting the unfolding of my identity as life shifts and transitions. And how that identity fits into the grander scheme of things.