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      <image:title>Artwork - Photography</image:title>
      <image:caption>Kwaamen, (Jamaica) 2025 120 mm, giclée print, variable dimensions This photograph was made in the hills of St. Mary, Jamaica on the hike leading to Kwame Falls. The waterfall is named in memory of Kwaamen, a lieutenant in the major 1760 Tacky’s Rebellion led by Tacky (Takyi). They were both formerly enslaved men born on the Gold Coast, or what is now known as Ghana.</image:caption>
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      <image:caption>Nyame Anim, (Trinidad &amp; Tobago) 2025 120mm, Giclée print, variable dimensions This photograph was made on the shores of both Trinidad’s North Coast &amp; Tobago as I retraced the steps my ancestor, Sandy, an 18th century liberation figure. In 1770, Sandy started the first known slave rebellion in Tobago. The legend is he evaded capture by swimming 25 nautical miles from Tobago to the North Coast of Trinidad. I considered what he may have seen in the water as he fled. I envisioned the focus and fortitude that fueled him as he moved with these spaces, and what could have inspired him to do so.</image:caption>
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      <image:caption>The Trees Remember, (Trinidad) 2025 120 mm, giclée print, variable dimensions A photograph was made at the shores of both Trinidad’s North Coast &amp; Tobago as I retraced my ancestor’s steps. I envisioned the focus and fortitude that fueled him as he moved with these spaces, and what could have inspired him to do so.</image:caption>
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      <image:title>Artwork - Photography</image:title>
      <image:caption>Meet Me at The Clearing, (Trinidad), 2025 120 mm, giclée print, variable dimensions A photograph made at the shores of Trinidad’s North Coast in the mists of the Caribbean Sea as I retraced my ancestor’s steps. I envisioned the focus and fortitude that fueled him as he moved with these spaces, and what could have inspired him to do so.</image:caption>
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      <image:title>Artwork - Painting</image:title>
      <image:caption>The Groove (Untitled IV), 2022 Acrylic and gesso on unstretched canvas, 108 in x 90 in. Installation. view, "The Cartography of Time," Project for Empty Space, Newark "“The Groove exists in a point of tension between multiple ideas. While appearing to be one-dimensional flat at first glance, it is a disregard for the monolith- of flatness. It is multidimensional on many fronts: from the variegating tones and shades of black to the layers upon layers of oil stick, paint, and acrylic. The movement is alive with the artist's frenetic energy that morphs in and out of concentricity and tangentiality- the southernmost portion disappearing into an unseen abyss. These articulations of full-body engagement on the canvas are absorbing. They both pull in and push out, creating a sense of unavoidable transgression in many directions. Each work is a womb-like portal full of the possibilities of liberation from oppressive Whiteness and toxic Capitalism.” Jasmine Wahi</image:caption>
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      <image:caption>The Bend, 2021 Street installations for "Heart Recognition" co-presented by For Freedoms &amp; AI For the People These were the first expressions of The Groove for a public intervention raising advocacy for removing artificial intelligence-based predictive technology from use in policing. I created the paintings, and later wrote and superimposed text on them. The text calls into question the algorithms at the center of predictive policing, the carceral state, and the general overextended hand of capitalism and how attempts to apprehend and extract Black labor and ingenuity. The phrases are an assertion of our freedom now and in a future where we have dismantled these systems.</image:caption>
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