2024 has been a year of profound artistic exploration, meaningful connections, and transformative milestones. It began with Ponytails and Door Knocker Earrings, an installation at Time Equities in New York that enlivened the lobby from January to July. I’m deeply grateful to friends and colleagues who braved a freezing January evening to celebrate its opening with me.
Later in January, I participated in the Surface Design Association’s Parallel Play residency and conference, sharing my creative process through open studios and an artist talk. These exchanges deepened my connection with the SDA community.
In February, I gave an inspiring talk with the Hudson Valley Mohawk Weavers, exploring weaving as a tool for Black self-expression and social justice. That same month, Metamorphosis: Recycled, Repurposed, Reimagined opened at Annmarie Sculpture Garden, featuring Beaded Braids – Double Dutch, a celebration of childhood, braiding, and the cultural significance of hair.
In May, my work Liquid Ice sold to the Guggenheim Museum at the 1-54 Contemporary African Art Fair, marking a milestone in my career. I also embarked on two artist residencies at Touchstone Center for Crafts, where I continued work on Free Your Mind, transcribing story ribbons and cataloging biases. The project expanded with exhibitions at Touchstone, Delaware Contemporary, and presentations at the American Folklore Society Annual Conference.
My Great Resignation Emotional Baggage Cart was a focal point this year. Featured as the postcard image for the Hunterdon Art Museum’s Uncontained: Reimagining Basketry and spotlighted in the 9th Annual SDJ Exhibition in Print, it examines themes of liberation and self-discovery. Repurposed materials, including vintage silk ties and a shopping cart substrate, challenge notions of value and redefine prosperity through inner fulfillment rather than material wealth.
Another standout was my Blackity Black Blanket series. Ladders was the cover image for the Beyond: Tapestry Expanded catalog and exhibition, while Chaise featured in the Newark Museum of Art’s Radical Reimagining. Both works explore implicit bias and the impact of microaggressions, symbolized by zip-tie blankets draped on ladders—a visceral portrayal of the weight of societal expectations and the struggle to rise above them.
In October, I led the Emotional Baggage Cart Parade during Art in Odd Places along NYC’s 14th Street. With the support of incredible volunteers, we transformed shopping carts into visual narratives of shared emotional burdens. Their contributions made this project truly special.
The year culminated with my presentation of Free Your Mind at the Textile Society of America Symposium, reflecting on the interplay of textiles, microaggressions, and healing. This was paired with immersive research at the American Folklore Society Annual Conference, where I explored themes of foodways, grief, the supernatural, and Indigenous knowledge.
This year, I’ve watched my work resonate with diverse audiences and evolve in unexpected ways. From exhibitions to residencies, artist talks, and public art initiatives, 2024 has been a celebration of creativity, community, and growth. I look forward to building on this momentum in the year ahead!
