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
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.
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
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
Packaging for "my" essential oil company, feature the scents Frankincense and Cardamom. Two info cards are included in the packaging.
