My practice centers on painting as a form of material and philosophical inquiry into place, memory, and relation. Working primarily with oil and handmade pigments, I explore how painting can register ecological presence and historical residue without reducing them to representation. Recent bodies of work focus on sargassum seaweed and ghost nets, using these drifting and entangling forms as sites for contemplating loss, return, and the uneasy circulation of matter across Caribbean waters.

Although painting is now the primary focus of my studio practice, my work remains informed by earlier engagements with textile processes, natural dyes, and locally sourced materials. These material investigations continue to shape my sensitivity to surface, stain, and accumulation within the painted field. I am interested in how materials carry temporal and cultural memory, and how painting can function as a slow, attentive encounter with ecological transformation rather than an illustrative response to it.

My artistic practice is closely linked to sustained scholarly research in philosophy, aesthetics, and postcolonial thought. Drawing on Édouard Glissant’s concept of relation, process philosophy, and contemporary materialist discourse, I approach painting as a mode of thinking—one in which aesthetic experience precedes and exceeds conceptual explanation. This research informs both my studio work and my writing, positioning art as a generative site of knowledge production.

Community engagement is integral to my practice. Through teaching, collaborative projects, and the operation of Art House 473 in Grenada, I work to create spaces where making, learning, and dialogue intersect. Across painting, scholarship, and community-based activity, my work seeks to articulate a Caribbean-rooted practice that is materially attentive, philosophically engaged, and responsive to the social and ecological conditions of the present.