Through the language of collage and drawing, I recreate familiar domestic Black spaces of color. I explore the notion of collage as a metaphor to describe the dislocated, collaged nature of Black history due to colonialism. In the same way that Black history and its culture is dislocated, found, and pieced back together with new elements from new generations; the collages take on the same motion with the use of colorful marked papers. The collage materials are hand prepared by me through methods of mark making that sometimes also apply to the context of the work. The use of inanimate objects- such as a broom, frottage methods on objects that are synonymous with black culture, and prints of my afro, are marks, tones, and textures directly from my culture that also reveals its history. The inclusion of unprepared papers directly correlates to the place of colonialism in my culture. Most times, disguised to assimilate or flamboyant to assert authority.

I am recreating Black southern spaces I call and have called home, places such as my grandmother’s kitchen, my mother’s den, or the home I wanted growing up in order to convey nostalgia for a past that never truly existed. I include decorative objects, such as African vases and religious artifacts to represent my culture and my family’s heritage. The spaces reflect the relationship between family and home, along with the desolate truths and overt absences that reside there. The work also brings attention to significant spaces in the South; such as the front porch, which is undoubtedly, the most repeated occupied space of my childhood in Dallas, Texas. The settings and inhabitants in my work reflect my family and home while taking into account true statistics within the black community, that also affects us. Tropes, such as incarceration, single mothers, and grandmother’s that raise their grandchildren are addressed to talk about a common reality that mitigates the importance of the role of family and home in the black community.