Over the years, the art of storytelling has served as a resourceful tool within the evolution of my work. When I sit and think about my journey as a Black woman and mother in an inequitable art market, I often find myself developing innovative ways to lampoon and defy generalizations that doubt my capabilities. Whether sustaining a decade-long, renowned, conceptual brick & mortar community-based art installation called, Martyr Sauce or shapeshifting said brick & mortar into a television show called, Thank You, MS PAM on The Seattle Channel celebrating artists, creatives, and small businesses around the PNW, or evolving my preferred medium from oil painting to motorized large-scale immersive fabrications and blown glass, I’ve never shied away from taking risks. Humor, satire and spectacle are prevalent in most of my works, but I always aspire for the work to resonate as very personal and sincere; Made evident as the first artist ever commissioned in historic Pioneer Square to design a crosswalk, in which I reimagined the traditional white lines and replaced them with vibrant, colorful afro picks, bringing a tangible sense of inclusion and community to the neighborhood. In my self-portrait work, the women and men from my upbringing are lauded as muses blurring the line between feminine and masculine. To underscore their stories and elevate them out of the margins, I’ve excelled in genre-bending traditional pop aesthetics within photography, film, three-dimensional installations, and large-scale fabrications that I construct by hand; The anachronisms in these candy-colored tableaus showcase stand alone pieces in an attempt to subvert the ubiquitous co-option of my culture, redefine consumerism, and expose the sticky contradictions and dualities inherent in vices rooted in Americana-distorted memories and tall tales.