The foundation of my work is centered around blackness and black being as it relates to Western civilization. Western Civilization is a highly successful project, that at its core is unequivocally anti-black. I use objects and materials to critique and express a lived marginalized history. I see this view from the margins as a verdant ground and source of information. The scholarship that I gained from the margins is the leading force in my work. My work is focused on taking my collective lineage history and seeing the relationship between materials, narrative, and black history. Repurposed materials function as a rhetorical apparatus to express the value that materials play inside of modernity. My work explores the notion of the incorporeal nature of black grief, suffering, and joy. I aim to express the residue of black being in materials. I am trying to make use of the extra baggage that comes along with black being. Fundamentally, it's about transmutations, a meta improv, jazz life practice. I am interested less in the formal aspect of art and more in how my art practice reconfigures my world. How can art function as a passive contra design? My use of found repurposed objects and materials points to the historical relationship that black folks have with labor around these materials. The action of repurposing serves as an intervention to the materials and the initial design of the given material. I employ experimentation, as a way to actualize new ideas around materials while holding an ancestral lens in close relation to produce a potential poeisis. My methodology is to borrow the conceptual traits of Thelonious Monk and Cecil Taylor. This way of seeing abstraction brings forward a minimalist approach to my practice. My use of texts in my work is resting on the historical absence of black voice and thought in advertisements. My work serves as a loophole for black thought and consideration to be actualized.