In my artistic practice, I explore memory, space, and cultural identity through a material language of coffee, fire, natural pigments, and mixed-media collage. My work considers how memory emerges through our present encounters with materials, gestures, and space. Each series—Portal, Big Good Angel, Dreamscapes, Reflection, and Manchét—functions as a shifting field where time, perception, and experience intersect.
Burned holes puncture heavily collaged surfaces, acting as portals that introduce an element of destruction, which paradoxically leads to creation. These openings act as thresholds, revealing glimpses of the layers hidden beneath the surface, creating small windows into the process and anatomy of the work. Rather than functioning solely as acts of excavation, these passages invite viewers to move between visibility and imagination, suggesting that memory and history are never singular or fixed, but constantly shifting through time and perception.
Layering plays a central role in this process; the collaged materials accumulate into dense surfaces that hold multiple temporalities at once. The Dreamscapes series extends this approach by treating the work's surface as an architectural plane. Layers of material settle like sediment, forming textured landscapes that evoke shifting terrains of memory and consciousness. These works operate less as depictions of place and more as environments where time feels suspended, folded, and continuously in motion.
My practice also challenges the expectation that Caribbean art must be figurative or ethnographic in order to be legible. Instead, I engage abstraction, material experimentation, and spatial depth to explore how identity, spirituality, and history are experienced in the present. Encouraging Caribbean identity as something that can be continuously imagined beyond imposed narratives.