My artistic practice explores the idea that human beings contain multitudes. Working across drawing, sculpture and installation, I create figures that exist between the earthly and the cosmic. Using materials such as acrylic, pigment, collage, glitter, and sculptural media, I construct bodies that merge, repeat, and transform.

These figures may appear tender and unified or tense and fragmented, reflecting the body as a site of memory, contradiction, and transformation. By centering the human form, my work situates the body as both archive and portal, inviting viewers to consider the complexities of identity and our place within broader ecological and spiritual continuums.

My practice is in dialogue with historical traditions that position the body as sacred, ranging from Renaissance devotional imagery to West African cosmologies that understand the body as a vessel for ancestral presence. Within contemporary art discourse, I engage questions of diasporic memory, spirituality, and relational identity, contributing to ongoing conversations about embodiment, ritual, and the re-emergence of spiritual aesthetics in contemporary practice. This positioning allows my work to bridge past and present, drawing from ancestral knowledge systems while responding to the emotional and cultural conditions of modern life.

Recent work examines the tension between traditional, ethereal conceptions of love and contemporary interpretations shaped by migration, digital intimacy, and social fragmentation. Drawing from African spiritual frameworks where sacred knowledge often emanates from the shrine, I incorporate shrinal aesthetics and symbolism into both two-dimensional and sculptural works. On paper, this inquiry appears through recurring motifs such as lily pad watchers, contemporary echoes of cherubic figures, alongside references to discarded shrine objects associated with Fon and Ewe traditions. These motifs act as visual metaphors for witnessing, protection, and spiritual continuity.

This investigation expanded into sculptural installations such as What We Know & What We Don’t Know, composed of 3D-printed forms referencing divination tools and sacred objects found in familial and communal shrines. By translating ritual artifacts into contemporary materials, I explore how spiritual technologies can be reimagined in present-day contexts. These works function as symbolic access points to ancestral presence, encouraging reflection on ritual, memory, and the persistence of unseen knowledge systems.

Repetition plays a central role in my visual language and is informed by the reverence of twins in West African cosmology, where twins are understood as intermediaries existing between worlds, while simultaneously unified and distinct. I use this framework to explore continuity and multiplicity, suggesting that we are both carriers of inherited memory and active participants in shaping future realities. Across projects such as What the Body Carries and Mastering the Dream, I investigated love in its expansive forms, romantic, familial, platonic, and spiritual, as a connective force linking physical and metaphysical bodies. By merging historical spiritual traditions with contemporary materials and participatory strategies, I aim to create works that function as living archives where memory, ritual, and collective imagination converge.