<--- Influenced by Marcel Camus 1959 film “Orfeu Negro” (also known as “Black Orpheus”), “black orpheus (ii.)” centres its narrative around the rhythm of sound and dance within the film using obstructive and “incomplete” materials and methods of documentation. In exploring cinema’s tactility, my work was prompted by the 1959 film Black Orpheus (Orfeu Negro) directed by French filmmaker Marcel Camus (1912-1982). Black Orpheus resurrects the ancient Greek mythology of two lovers, Eurydice and Orpheus, in amidst of the rhythmic and joyful festivities of Carnival in Rio de Janeiro, Brazil juxtaposing the tragic and soulful fate of the blooming lovers. Centering black and Latinx performers and cultures with Greek mythology, I was captivated by the film and inspired to produce works which reflect body and movement, as throughout the film, nothing and no one stood quite still. In creating incomplete complete works, each partially made human figure (Eurydice and Orpheus) mirrors an assemblage of their identity and reflects fragments of being complete for each other. --->

<--- Ripped pictures of ceramics from a vintage Art Nouveau style catalogue merge together with a human figure to form “xxxii.” also known as Eurydice.

In exploring cinema’s tactility, my work was prompted by the 1959 film Black Orpheus (Orfeu Negro) directed by French filmmaker Marcel Camus (1912-1982). Black Orpheus resurrects the ancient Greek mythology of two lovers, Eurydice and Orpheus, in amidst of the rhythmic and joyful festivities of Carnival in Rio de Janeiro, Brazil juxtaposing the tragic and soulful fate of the blooming lovers. Centering black and Latinx performers and cultures with Greek mythology, I was captivated by the film and inspired to produce works which reflect body and movement, as throughout the film, nothing and no one stood quite still. In creating incomplete complete works, each partially made human figure (Eurydice and Orpheus) mirrors an assemblage of their identity and reflects fragments of being complete for each other.

<--- On carpets, red, made from concrete sheets, I watched them walk in regency-core. God be damned if I ever scuffed a brother's shoe.

<--- From the waters ashore to nourish and nurture.

<--- Hands extending forward, backwards, and sideways configure an ambiguous form that floats within an expansive luminous space. Utilizing cut-out photo images collected from sports magazines and National Geographic, “Should oblivion stay,” (2022) explores the extraction, collision, and bond of time, place, and identity. Heavily influenced by Afro-futurist themes, the work intends to rupture the colonial and monolithic gaze imposed onto Black communities. As a means towards ancestral healing, “Should oblivion stay,” also incited a personal sense of tranquility in its making. A state of being that lends to the intentions of the work existing in simultaneous motion and stillness. To not seek permission to be everything together at the same time. To exist in an intersectional sphere, borders obsolete.

In creating "incomplete complete" works I define great happenings to occur in-between the frames of a moving image where the absence of sound and image is everything. Negative space is everything.