A personal work of two sexual martyrs.
The Daughter of Babylon who deserves liberation and Hyacinthus who was struck in the head with a discus and killed by his lover Apollo.
Graphite, charcoal, acrylic paint, cut paper, ink, bristol board, 2020
Mixed media book cover for the 2025-2026 anthology for Collective Power.
Graphite, collage, cut paper, digital color, 2026*
*color selection and font were requirements by the commissioner
Cover design for the third volume of If There’s Anyone Left, a sci-fi anthology that centers marginalized voices.
Acrylic paint, graphite, charcoal, digital color, 2022
The first three pages of my comic published on Adi Magazine in August 2026 about using the intersections of the cosmic and ecological to reinterpret anarchy.
Further themes can be explored on my Substack post: “I Was Born an Anarchist.”
Acrylic paint, Graphite, Collage, Cut Paper, Digital Color, 2026
Created for Sojourners for Justice Press’ project, “Black Women, Violence and Resistance.”
Release the memory of the tragedy that bound Rose Butler to earth. Can you look at this poster and relish only in her unwavering momentum? Breathe freedom into the living altar of her memory. Let’s imagine her moving on. Let’s speak no more of the horrors that keep her tied to this reality. Light a candle and imagine her singing, sighing, out-stretching toward infinity. Warm and free. She is that light! Beautiful and striking. She does not need reigns or saddle to control the bestial angel she rides. It is not tame, yet it heeds her call alone. It’s taking her home.
Ink, Acrylic Paint, Graphite, Charcoal, Digital Color, 2023
This is a mixed-media poster and risographed image created for Sojourners for Justice’s first annual Black Zine Fair in Brooklyn, NY.
Collage, graphite, charcoal, cut paper, digital color, risograph, 2024
A book cover style illustration for the short story, “Frogs to Come,” published with smoke + mold.
Graphite, Digital Color, 2026
Lucifer, the fallen Angel of Hell, and Inanna, or Ishtar, the Mesopotamian goddess of the underworld. They are deep in Ludus - flirtatious love - whispering about what they wish to bring to the surface from their depths, reflecting on our fear of the darkness, holding the leash of the era of mammals. Created by me for and featured in the Future Ecologies exhibition at Vox Populi in September 2021.
Acrylic paint, graphite, ink, cut paper; approx. 60” x 36”.
Honored to embody the article/testimony, “Grief Belongs in Social Movements. Can We Embrace It?,” by Makia Devich-Cyril for In These Times magazine. I love when energy aligns and I am given the opportunity to channel a message so in line with what my spirits/Realm of Beings have been inviting me to consider and speak on. The concepts in this article are instrumental in our transformation.
We thank you. We thank you. We thank you.
Acrylic paint, ink, graphite, digital color, digital collage, 2021
10 illustrations created for the republishing by Restless Books of the Harlem Renaissance novel Passing by Nella Larsen.
“A captivating and prescient exploration of identity, sexuality, self-invention, class, and race set amidst the pealing boisterousness of the Jazz Age.”
Cover for Coffee House's spring 2025 season: The Seers, a novel by Sulaiman Addonia
Charcoal, Graphite, Digital color, 2024
Illustrated for my article published both online and in print with In These Times Magazine: The Pursuit of Pleasure
This is my interpretation of a still from the film, Chaac and Yum by Snowf lake Calvert, Daniel Arizmendi, Roberto Fatal and XAV-SF.
Graphite, Acrylic paint, Digital color, 2025
These are symbolistic portraits of 3 poets whom I consider to be my 3 muses.
Thylias Moss, Sylvia Plath, and Rainer Maria Rilke
Mixed media illustrations created for Sojourners for Justice’s article, “The City in Our Hands”
This image represents generations of sharing knowledge at the “table.”
A book cover created for islamic, black, trans poet Noor Ibn Najam for Glass Poetry Press.
Cut paper, digital collage, ink, 2017
A completely graphite image created for the second volume of the BIPOC horror collection, Death in the Mouth.
I illustrated a story, “From Dust We Came,” by Samuel Marzioli
A book cover for Emily Famularo's new collection of Short Stories, The Sadness Junkies.
Cut Paper
In 2020, Ipsy Bipsy Studio reached out to me to create my first risograph print, and here it is! All bound in a glorious book of mythological exploration! “Beginnings and Endings” is a risograph print anthology of mythological tales of origin stories and apocalypse of many cultures. You will find my origin story of the Nommos from the Dogon people of Mali.
Ink, acrylic paint, collage, digital collage, digital color, risograph, 2020
Created for Sojourners for Justice Mini Black Zine Fair.
Charcoal, graphite, cut paper, digital collage, digital color, 2024
Illustrations created for the Ether Erotica collectives second book: Lucid Pleasures
Ink, Graphite, Charcoal, Acrylic paint, Bristol Board, Digital Edit, 2021
Single Cover for the song “Dangerfield Newby” by the Black stringband, New Dangerfield.
Ink, Acrylic Paint, Graphite, Digital Color, 2024
The spirit of the Wood Spurge also called Euphorbia, Devil’s Milk, and Virgin Mary’s Nipple (personal fave.) Called so for the milky white sap the plant extrudes when cut. Upon further research (don’t try this at home without thorough study of your own) the plant can either be a poison or if prepared right the root can become a delicious bread! Supposedly the witches (using that word broadly) back in the day would mix the sap with honey and lay in the sun to remove body hair!!! WILD! I’ve based this design off of the reproductive cycle of the plant from flower to pollen to seed. A tiny being that helps to ferry (fairy) pollen from one plant to another.
Ink, Acrylic Paint, 2021
A personal piece inspired by a book of 1960s interior design.
Cut Paper, Digital Color, 2015
Created for the 2025 Black Zine Fair with the theme Discursive Circus
In 2025, I became the official poster maker for Sojourners for Justice
Graphite, collage, cut paper, digital color, risograph print 2025
Selected images from my comic, The Boar King, which you can find in full on Anomaly.
Cut Paper, Acrylic Paint, Collage, Graphite, Digital Collage, 2017
Lilith and the Wata spirits take on the vital role of TAKING AWAY or cleansing/shedding/freeing—one culturally associated with fear, Lilith, and one with love, the Wata spirits.
Acrylic, Cut Paper, Ink, Graphite, 2021
Created for and Featured in Future Ecologies at Vox Populi in September, 60”x36”2021
Dryad of Mud, Nommo of North America. Instead of turning into trees like Grecian dryads, mud dryads turn into mud for defense, freedom, and pleasure. This form has mudskipper fins for wings combined with black swallowtail wings and a mudskipper tail. Ringed fungus grows all over her body and clustered around her head like a hat and collar. Nommos are an amphibious extraterrestrial species said to bring knowledge of the stars to the Dogon people of Mali.
Featured in the 2020 Gender Justice LA exhibition at Nicodim Gallery
An editorial for Elizabeth Shackelford's "Frida Kahlo; No Feminist" article for the NYTimes.
"That people love Frida Kahlo and her art is one thing. That she is being treated as a role model for feminists is another. The glorification of her travails keeps alive everything that should be abhorrent to the true feminist."
Cut Paper, Collage, 2017
This was a piece I made for the formerly-incarcerated women who work with the People’s Paper Co-Op. They were collaborating with artists to crate posters to raise money for the Philly Bail Fund. I used Latyra’s Poetry, “Freedom is my Divine Right,” Faith’s, “Freedom to live, to thrive, and to love” in Arabic, and an image of April for reference. Additionally I had a long conversation with the women about symbols that represent them and their personal sense of divinity.
Cut Paper, Digital Color, 2020
A small mural created for a queer, scantuary land project.
I used my Enochian cards and Angel cards as divination to create a protective spell for the land.
My painting technique was putting rag over my finger and dipping it into wood stain—this piece is essentially finger-painted.
Wood Stain, Wood Varnish, Wood, 2023
I’m honored to channel our vision of trans freedom into the energetic emblem of this flag! Commissioned by Asian Arts Initiative.
When you look upon this flag picture our freedom today. Channel your imagination, your thoughts, your work, your play, your resources, your energy into the consistent safety, security, joy, and expansiveness of black transwomen. Symbolism description can be found at TRANS FREEDOM FLAG IGTV.
Digital, 2021
An editorial piece created for In These Times magazine for a piece on dreaming about what reparations should look like from the government.
Ink, Digital Color, 2019
This piece marks the beginning of my role as art director and illustrator for Sojourners for Justice. I worked with Ezekiel Robinson who did the illustration of the figure, while I collaged and colored the piece. It was then risograph printing with typography from Erin Robinson, with graphic design direction from Neta Bomani.
Digital color, Graphite, Paper collage, Physical media Collage, Risograph, 2026
Of my varying neurological differences, this painting represents my OCD. My intrusive thoughts are parasitic and consuming, and I have to work tirelessly to try to separate those thoughts from who I am and what I actually feel. They ooze and blend together. However, I don’t see my OCD thoughts as inherently an enemy; in fact, I think of them as a type of guardian trying to protect me, but they don’t know how to, or the OCD is unable to protect me in a balanced or healthy way. That is why I portray OCD as a harpy, a mythological bird-woman. She’s beautiful, but also monstrous and dangerous. She’s a predatory creature in a guise specifically designed to attract or convince.
I created this as a stream-of-consciousness piece, so it comes from resonant emoting, not perfectionism or overthinking. This harpy consumes the figure like a living shadow. The harpy doesn’t realize what they’re doing. By never leaving the figure’s side, the harpy consumes the person’s energy. The person is compelled to trust, and maybe even love, this harpy, but under its weight, the person knows they are food, just as I feel OCD consumes my mind.
Fear is in the figure’s eyes, just as care is in the harpy’s. The figure’s face is held in a tender embrace, but it’s also disappearing, as you don’t know where the harpy and figure begin and end.
By anthropomorphizing my disability, I seek to understand it, find empathy for it, so that I can find more balance with it. When I give OCD a form, it becomes more tangible, and less monstrous. Through this stream-of-consciousness exorcism, I am able to step back from my OCD to find calm recognition within this relationship with my own brain.
Acrylic paint, Ink, Bristol Board, 2021
A portrait of Native American, Neo-Folk singer, Mariee Sioux.
https://marieesioux.bandcamp.com/
Cut Paper, Collage, Fabric, Pencil, Acrylic Paint, 2017
Here is a selection of cards that I created for Arielle and Will’s wedding.
Each design combined thematic elements named by the couple including their families’ gardens, favorite animals, and colors that matched their bouquets.
Cut Paper, Digital Color, 2019
Packaging sample for an essential oil company, featuring the scents Frankincense and Cardamom. Two info cards are included in the packaging.
Cut Paper, Digital Color, Digital Collage, Acrylic Paint, 2017
A sketchbook drawing of a glorious lamia, perhaps the manifestation of Lilith, but more likely a beast of her own making.
Ink, 2019
