The artistic recognitions I’ve been most honored by have come in quiet, enduring forms: when educators teach my work, when students dissect it in art school reports. Those moments affirm the depth and emotional resonance of my practice, qualities that aren’t always glamorous or flashy, but create fertile ground for lasting dialogue.

For nearly a decade, I have contributed to dozens of public works, serving as Lead Artist with Arts@Large and Artists Working in Education, Inc., and completing commissions for Associated Bank, MMSD Milwaukee, Havenwoods EDC, and numerous private clients. I have built this career in spaces that too often treat artists as expendable. Existing as an independent artist across marginalized identities means navigating the way systems of oppression are compounded by broader devaluations of art. I confront exploitation in professional arts spaces with integrity as my leverage, a stance essential to building a sustainable practice.

The vulnerability within my practice often sparks equally open responses from viewers. My first solo exhibition, for example, revolved around a series of watercolor paintings titled “The Crush Series”. It was a lighthearted, dreamy exploration of romance in different stages, from the honeymoon period to heartache and longing. It was healing to claim space for tenderness without needing to anchor it in trauma to be taken seriously. As a Black artist, that choice was vulnerable and intentional. It revealed how readily viewers recognize and share that tenderness. This experience was a turning point in discovering my ability to use art to create conditions where vulnerability is safe and we can see ourselves reflected in one another.