My art practice explores how social and linguistic constructs shape identity in the United States. Rooted in inquiry and collaboration, my work fosters participatory spaces for public testimony, fact-finding, and collective dialogue. Through interdisciplinary methods, I invite diverse communities to examine overlooked histories and confront the complex consequences of European colonization that continue to shape our present. By sifting through the debris of history, we can interrogate the legacies of race, class, and gender, opening pathways toward decolonizing the mind, reclaiming collective memory, and imagining transformative futures.

My work engages suppressed histories and sees the act of making as an opportunity to listen across time, place, and difference. This approach was central to the making of "Beyond the Whitewash" (2023) at Living Arts of Tulsa, situated on the site of the 1921 Tulsa Race Massacre and the ancestral lands of the Osage, Cherokee, and Muscogee peoples. This convergence of suppressed histories made the space uniquely charged. The year-long project invited Black, Native, and white artists into a process of shared leadership, deep listening, and creative exchange concerning race in the United States. Together, we transformed the 7000 ft gallery into a living space of remembrance, truth-telling, and healing through visual art, soundscape, installation, video, poetry, prayer, guided meditation, and performance. The site became a sanctuary for grief, resilience, and possibility—an example of what can transpire when art catalyzes community restoration and transformation.

Compararably, "Am I That Name?" is a collection of works rooted in Queer research that challenges traditional binary frameworks of gender. Through a combination of soundscapes, sculpture, works on paper, video installations, and performance, the series investigates Queerness as a generative and life-affirming way of being. Originally showcased at the Melton Gallery (2022), the exhibition concluded with a dance performance led by University of Central Oklahoma students, using movement as a language of transformation and becoming.

Across my art practice, I aim to dismantle harmful narratives by highlighting the fluidity and diversity of human experiences. Through collaboration and embodied storytelling, I create spaces where identity is seen as relational, evolving, and responsive to differences rather than being fixed. The future of my art practice relies on developing sustained, community-based artistic projects that combine critical research with public engagement. My next steps involve creating new work and seeking public venues that facilitate complex conversations around my collections, envisioning futures that move beyond erasure toward renewal. 

I live and create on the ancestral lands of the Pokanoket, Narragansett, and Wampanoag Peoples. I assume the responsibility to educate myself on the long and violent legacy of my fore-parents in the colonization of the United States. I will no longer overlook how this land was occupied, the effects of colonization, and the historical and ongoing injustices impacting Black, Indigenous, and People of Color today.