praise

it’s my first big girl group show….yall knew a long ig caption was coming Idk, sometimes there’s so much emotion that swells up in this heart of mine, I spend more time trying to contain it than I do expressing it. But I’m sentimental and have a deep love for and devotion to people. As an only child growing up in the South in a very sheltered home, I felt like I was hidden from people for so long and now all I want to do is understand and make people feel seen and understood. And because of that, I am overwhelmed, humbled, and gracious to have felt so seen last night. What I was able to create with my hands to share and be interpreted openly couldn’t have been done without the upmost support from everyone in my life. My achievements are not mine alone and I think that’s why I feel so overwhelmed. I don’t want to diminish my personal development of practice and hand in getting where I am today, I’m well aware of my capabilities and capacities. I just think it serves the purpose of the work and the show to emphasize that the concept and creation of these pieces were from seen, unseen — direct and indirect labor and love. I think that’s what creates faith anyway. Ty @geraldlovell & @ppowgallery for allowing me to be in this group show with artists I cherish and respect so so so deeply also shoutout @jacquardproducts we’ve been locked in for almost 10 years now (excerpt from studio journal while making the work in carousel)

cyanotyped directly onto some decks to prevent myself from losing my mind and show I contain multitudes

The Weight of Wholeness Is No Trifling Matter 2026 Cyanotype on silk, canvas, ceramic, glass candle holders; cyanotype solution in holy water vessel; cyanotype on book cover; found table; synthetic braiding hair; wax, water, salt, branches (long post im so sorry but also deal with it) “Are you sure, sweetheart, that you want to be well?… Just so’s you’re sure, sweetheart, and ready to be healed, cause wholeness is no trifling matter. A lot of weight when you’re well.” In my journey to be a more understanding individual, understanding of myself and understanding of the world around me, I found Salt Eaters by Toni Cade Bambara. This book challenges the structure of linear storytelling through shifts in timeline and perspective to show that achieving wholeness is by no means a linear process, and when we neglect ourselves the opportunity to embrace this process, our community notices. I compare digesting this book to laying on the ground hearing a lengthy jazz improvisation track with occasional shouts or prose in the left or right headphone. Through ancestral healing, community organizing, art, music, epiphanies, and symphonies of weathered stories, this piece came to be. One figure is trying to save the other, her fractured self, from a life ending decision so they can rest in front of an altar of salt and become whole. It’s not meant to be a self portrait, but I believe it shows my dedication to trying to become the best version of myself, and realizing she may not be the happiest. But life isn’t about being as happy as I can be, that's not being "whole". Recognizing what the brain thinks is safe, isn’t always what’s the safest. Learning to embrace an unfamiliar heaven over a familiar hell helps me stay true to my values and live earnestly and wholly. Through this, learning, devotion, creation and love are my priorities. And I hope to engage with those with all of you as we go through cycles of saving ourselves and each other. “You never really know a person until you've eaten salt together”.  Salt is known to have healing properties. With that, you never know a person until you've healed together. til 4/5 at Isolde pics: @leib.jonathan

To remedy unease, give your attention to the well. What is wretched can be noticed then liberated in the same wish, 2026 cyanotype on wooden well Pilot Light (Installation View) P·P·O·W. New York, NY, May 2 – June 6, 2026. Photo: Ian Edquist. will be hanging around the gallery tonight May 15, 6-8 and a bit over the weekend/next few weekends 🤞🏾🫶🏾

For when memories escape mnemonics are sung as blues, 2026 cyanotype on wooden bridge on view as a part of “Pilot Light” until 6/6 @ppowgallery

Sorry for double posting but had to post my coven/my pack. This year has felt like the busiest one of my life thus far. Between work, studio work, teaching, mutual aid/political organizing, living everyday anchored to the closest approaching deadline, and remaining whole I’m a tired lil pup. We all know I love a long Instagram caption, but to keep it brief, in the last two weekends alone I’ve seen the culmination of a lot of my hard work come to fruition. Work done in collaboration with so many I respect and cherish. It’s not easy, but it’s so so special, and I’d like to keep it going if that’s okay w yall 💙 Now someone take me camping immediately

Shadows of bound prayers hands transformed into wings (fly towards the light), 2026 cyanotype on canvas 60 x 36 ins. on view in “Pilot Light” at @ppowgallery curated by @geraldlovell til 6/6

April is the cruelest month

progress on the cyanotype well thinking about time, attention, devotion, and desire. throwing a coin into a well is a form of prayer, an offering made without guarantee. A love letter without expectation of response. The cyanotype process is a kind of prayer involving a desired result but surrender to expectation. Still putting the work in anyway because it’s the process that matters. The attention and time we devote to it. I like to think that’s how I can approach many things in life that require more time than I have, or have an uncertain/unknown expiration. I can’t be precarity’s fool. The time we have together isn’t that long nor is it promised, no matter if it’s what we wish, so why not give our upmost attention and devotion to each other and the world. ty to many conversations w those dear to me for constantly keeping me sharp and introspective. sometimes I just type/write words they don’t always make sense but they make sense to ME

“the unearthliness and spectrality of blue,” 2026, cyanotype, acrylic, and sand on canvas, 48 x 36 ins. Showing some new cyanotype works w @ppowgallery :’) —- Opening Saturday, May 2, we are pleased to present “Pilot Light,” a group exhibition curated by @geraldlovell at 390 Broadway, 2nd Floor. Featuring new and recent works by @breandy , @cvsreceipt , #GeraldLovell, @devinnmorris , @nickolapottinger , @talwst , and @taytheism , the exhibition will span painting, sculpture, and multi-media installation. The resulting presentation is shaped, not by spectacle, but by endurance: the slow, persistent force of faith, practice, and resiliency. In an art world where diversity can become a passing trend and visibility is often confused with care, “Pilot Light” insists on another measure of value outside the demands of immediacy, legibility, and consumption. The exhibition will be on view May 2 – June 6.

march madness at the ranch studio, if you’ve been by thank u for keeping me sane (slide 2 ft my biggest support system and my soul mates mwah I love u) if i owe u a reply or package, its on its way I promise, I have the days blocked in my planner to prove it

cyanotype triptych wip: past, present, & future// a grandmother, mother, and her daughter // sisters // three graces // ghosts, lwa, spirits // this trio has stained my hands indigo mirroring hands before me with ferment dyed fingers formed through forced labor and extraction of their knowledge of indigo cultivation. Thinking a lot about the many stained fingers, tinted from hard work. And what our future will look like. This one has been kicking my butt, rightfully so. Wonder what the finished result will end up looking like. It's already changed so much since documenting this. posting this from my laptop (idk how this will look or work and i can't add a song so hum to yourself" Been thinking about this quote a lot. “Human beings have roots by virtue of their real, active, and natural participation in the life of a community which preserves in living shape particular treasures of the past and particular expectations for the future.” ― Simone Weil