About the Artist

I did not arrive here through privilege, connections, or a safety net.

I was fired from a job that paid well enough to make life comfortable—until it didn’t. When the salary stopped, the bills didn’t. I was on unemployment, watching the math stop working, until I was down to my last $20.

My son suggested something simple: try digital art. He showed me Midjourney and ChatGPT. I listened.

I opened a TikTok account and began posting work. The engagement was steady, but everything changed after one post—a digital piece inspired by an old-school hip-hop scene, DJs on the ones and twos, set to KRS-One’s “The Bridge Is Over.” That image went viral. From that moment forward, clients began reaching out organically.

A friend encouraged me to submit my work to the Mayor’s Office for Black History Month. I did. That submission became the first domino.

From there, momentum followed structure. I built a formal portfolio. I was awarded a $3,000 grant from the Pittsburgh City Art Council. My work entered galleries. I received an offer from a collector in Dubai, resulting in my work being placed in a gallery in downtown Dubai. Since then, my art has been exhibited or collected in Dubai, France, Switzerland, Germany, and Spain, including participation in Art Puzzle Switzerland.

I was interviewed at the August Wilson House—three days after my home burned down. I had no wardrobe, no stability, and no margin. I bought what I could afford and showed up anyway. That interview remains public, unedited, and honest.

Despite that moment, I was selected again—one of ten artists chosen for a major presentation at the August Wilson House in February 2026, following my work being featured there in 2025.

Alongside visual art, I created UnV🍸ckable: Fuckcabulary — 365 Days of Therapeutic Sarcasm, a book series pairing language and image. Every piece of artwork in the series is original and created by me.

My work lives at the intersection of restraint and disruption. It is informed by lived experience, cultural memory, and an insistence on authorship. I do not chase trends. I build bodies of work.

What exists now—collections, interiors, objects, and published work—was built from zero, without institutional grooming, and without permission.

This practice continues.