Curatorial Statement:

Hybridity is the center of my practice as a curator, but also generally as a creative. On a personal level everyday I toggle between African, Caribbean, Western, and African American frameworks, and I see that fluidity not as contradiction but as the condition of our present. In a digital era where identities remix and collide, hybridity is no longer the exception. It is the rule.

For me, curation extends beyond galleries. Life itself is curatorial: how we tell stories, what we wear, how we design, how we share. I am interested in collapsing hierarchies not only within art, including painting, sculpture, photography, video, and digital work, but also across mediums of culture such as fashion, furniture, film, commerce, and sound. Each is a site of meaning, and each deserves to be in dialogue with the other.

I am not interested in dividing political from abstract, or Black from white, or blue-chip from underground. Mystery and message can sit side by side. Picasso can hang next to Faith Ringgold, a digital avatar can stand beside a medieval manuscript, a meme can resonate with a bronze sculpture.

We leave room for the speculative. Critical fabulation, futurism, and myth-making are tools of world-building. The imagined is as vital as the documented.

Through this lens, history becomes raw material to be rewritten, and art becomes a site of new mythologies. Hybridity is how we imagine futures that are more hospitable, less bound by hierarchy, and open to multiplicity.