There is difficulty in representing a historical and cultural position in space and time that’s constructed from remnants of the past and traumas inherited from previous generations. I often find myself within an unresolved struggle between the social and psychological.

I use the idea of home to think about the complexity of this space. Through entirely black backgrounds, the past comes to dwell within a house. Influences of class, gender, race, and ethnicity help construct a dwelling, weaving one out of a thousand stories, objects, feelings, and memories.

Within these black paintings, objectivity and subjectivity can be played with, and black is seen not just as a color but as a condition—one at once hypervisible and yet invisible. This condition allows for the dual legibility of the work; as conditions—such as lighting or proximity to the viewer—shift, the work metamorphoses. These black paintings require the viewer to be patient, to find comfort and discomfort in the slow composition of a spatial and temporal world.