1822 Vesey depicts an imagined portrait of Denmark Vesey, the enslaved carpenter and revolutionary whose planned rebellion in Charleston would have fundamentally altered American history. Rather than depicting a historical moment, this work imagines what Vesey might have become had his revolt succeeded. The composition incorporates the palmetto tree and crescent moon—iconic symbols of South Carolina and the Lowcountry—elements that anchor all of my portraits dedicated to this region.

Created entirely in ballpoint pen, the intricate detail and layering of the medium honors Vesey's vision of freedom whilst celebrating his enduring legacy.

This piece is part of the permanent collection at the Avery Research Center of History & Culture in Charleston, South Carolina, home to archival documents from Vesey's 1822 case.

Sea Island Kiss captures a luminous moment from Julie Dash's iconic film Daughters of the Dust—six Gullah Geechee girls dancing on a Lowcountry beach, their movements and clothing rendered with effortless elegance. The halos surrounding their figures, created through deliberate layering of blue ballpoint pen, transform the scene into something sacred and timeless.

In Gullah Geechee tradition, water carries ancestral wisdom, and this beach setting honors that spiritual connection. South Carolina's waterways are central to both the region's identity and its African diasporic heritage. This portrait celebrates the transcendent beauty of Gullah culture whilst acknowledging the profound connection between the living, the ancestors, and the waters that hold their memory.

Print Size : 12in. x 16in.

King Kendrick is a portrait of Kendrick Lamar, one of hip hop's most visionary artists and a consistent champion of Black ancestry and cultural pride throughout his music. This piece was inspired by Lamar's journey to Ghana, where he connected with his West African roots. The composition incorporates authentic West African masks from Ghana, weaving together his artistic brilliance with his ancestral lineage.

The title King Kendrick is both a tribute to one of his own songs and a term of reverence used by his family and devoted fans. Through deliberate ballpoint pen detail, this piece celebrates an artist who refuses to separate his music from his heritage—creating a portrait that honors both his creative genius and his grounding in Black cultural pride

_

This original artwork is available for purchase.
Please inquire here for pricing, payment options, and shipping details.

Down South , Juke Joint Get Down accompanied by West African Ancestors in the south.

The original artwork is available for purchase.
Please contact for pricing, payment options, and shipping details.

Stankonia celebrates Black freedom and boundless possibility, drawing inspiration from OutKast's iconic music video for, “B.O.B. (Bombs Over Baghdad).” The scene depicts André 3000 running through an urban neighborhood—what many call the projects—with Black children following in his wake. Rather than seeing confinement, the scene depicts liberation. André 3000 becomes an artistic expression of freedom itself, and the children following him embody a refusal to accept the constraints placed upon them by circumstance or income. Their movement is an assertion that they are destined for more than where they are, that they can lead themselves toward opportunity and possibility. Created in ballpoint pen, this portrait channels the high-energy defiance of the song and the moment, celebrating the resilience and aspirational spirit of Black youth who dream beyond the boundaries society has drawn.

Print Size: 12in. x 18in.

Pass It Down honors the ancestral lineage of Lowcountry sweetgrass basket weaving, a practice that traces directly back to West Africa. During slavery, different West African tribes were brought to the South Carolina coast to labor on plantations, where their knowledge of basket weaving—originally used in agricultural production—became a tool of survival and cultural persistence. In modern times, sweetgrass baskets have transformed into celebrated cultural artifacts, recognised for their artistry and creativity.

This portrait depicts three connected moments across time: a West African ancestor represented through traditional sculpture, holding a vessel; an enslaved ancestor practicing the same weaving; and a contemporary basket weaver continuing the craft today. The West African figure stands as an onlooking ancestor, witnessing the unbroken circle of her descendants across centuries.

This ballpoint pen composition celebrates the profound resilience of Gullah Geechee culture—a practice that has survived slavery, time, and erasure, remaining vibrantly alive in the hands of those who refuse to let their heritage be broken.

Print Size: 18in.× 24in.