The Irony of Capacity: a dark, black comedy 










“Vignettes, or scenic abbreviations, bolstering paint material, organic and mineral, casted or coating, are sculptural abstractions for an unveiling, and homie odes for encouragement sake. An orchestrated stage of characters lie within my sculptural prompts, architectural fixtures, and mediocre figurative paintings. My prowess in paint chemistries appreciates material resource and decentralizes the necessity of epitome in a single painting. I interrogate the coveted position of dominion and supremacy, typically denying dignified participation by thou neighbor.














The inevitable stranger, the dark one, the black American, oh the beauty of who I could be. Look alike jokes are imperfect, simplifying, celebratory, and in most cases an attempt to draw upon belonging. Yet, black is beautiful, a naturally colloquial maxim of my upbringing. Romantically likewise, may imply the naming of its capacity as intangible, and undeniable. This paradox is not in vain, rather for convening the expanse of a black condition beyond a personhood, or despair, toward a trans-geological being.




































This exhibition serves as a spatially engaged play on language; the stage contemplates black as it is used in a great expanse of meaning. Through the seasons, black cultures have been the root of U.S popular culture. Black is exhaust, reduction, concentration, energy, opacity, depth, emptiness, absence, and grievance, as my words cannot hold. The fallen man is depicted, the concentration of carbon is captured, the projection of stillness plastered.”