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I’m interested in the space between abstraction and representation. In this painting I’m using much of the language of my abstract work to create an image that references the pictorial space of landscape.

This piece has been on a long journey. It was started in 1998. I lived with the piece of wood for a long time until I could see this woman emerge from the wood. It is hand-carved in solid African Mahogany and was originally a 3/4 view of the woman’s body. It was exhibited many times over the years in its original state but there was always something about it that I felt was never finished. In 2023 I began to examine her again and made the bold decision to turn her in to a bust. Now she is perfect!

Do you have the power to let power go

This painting is a story of childhood and loss.

This painting is part of a series of three works related to the Dr. Martin Luther King Jr. sermon “The Three Dimensions of a Complete Life.” This painting is about the third dimension – height – which is the spiritual aspect of one’s life and the reach for the divine. The title of the painting reflects a Buddhist perspective, and the two hummingbirds symbolize wisdom and compassion. The title is partially taken from the collection of concise poetic teachings in The Awakening Heart by Jamyang Tenphel.

The other two paintings in “The Three Dimensions of a Complete Life” series are also being submitted for your consideration.

This painting is part of a series of three works related to the Dr. Martin Luther King Jr. sermon “The Three Dimensions of a Complete Life.” This painting is about the second dimension – breadth – and has to do with how well we live in connection and in service to others.

Sermon excerpts:
“And don’t forget in doing something for others that you have what you have because of others. Don’t forget that. We are tied together in life and in the world.”

“And all I’m saying is simply this, that all life is interrelated. Somehow we are tied in a single garment of destiny, caught in an inescapable network of mutuality, where what affects one directly affects all indirectly.”

The other two paintings in “The Three Dimensions of a Complete Life” series are also being submitted for your consideration.

This painting is part of a series of three works related to the Dr. Martin Luther King Jr. sermon “The Three Dimensions of a Complete Life.” This painting is about the first dimension – length – and is not about how long we live, but about how well we accept ourselves and how far we are able to live into our potential. Part of the title is paraphrasing the last line of Mary Oliver’s poem ‘The Summer Day’: “Tell me, what is it you plan to do with your one wild and precious life?”

The other two paintings in “The Three Dimensions of a Complete Life” series are also being submitted for your consideration.

This is my variation of the Lady victory in the center of downtown Indianapolis. I made this as a representation for the love I have for the city of Indianapolis and the people in it. In this variation everything is meant to be alive as if Victory herself is a living breathing part of the city, just like us.

It’s my goal as an artist to grow continuously, and create impactful works through out many genres and see the full potential of my skills over a lifetime. Please follow me on Instagram at illusmm1 , I am currently doing my best to aquire a website but in the meantime my Instagram is the best way to document my progression and growth as an artist and a person.

This poem came to me as I peered through this opening in the upper wall of Castillo San Felipe del Morro, the heavily fortified ancient Spanish fort in San Juan, Puerto Rico, where men could well have stood and thought the thoughts expressed in this poem, gazing expectantly toward the east, toward Africa. I do not recall how old I was when I learned of the Middle Passage but it was so revolting, so horrifying, that one is compelled to talk about it, to write about it, and to use art (in my case, photography) to illustrate the words and the feelings.

There is such a debate about telling our youth the truth. That truth goes by another word: history. It is critical. If told the truth, youth and adults will be uncomfortable. That discomfort is a means of growing, of a growing acceptance, of accepting the discomfort, the horror about the actions of some ancestors and what happened to other ancestors.

This piece is part of a series exploring portrait collages, featuring elaborate floral headdresses. La Morena reflects my time living in Mexico and my appreciation for Mexican folk art, along with the elevation of black images of beauty which are a hallmark of my work.

I shot the friezes on the exterior wall of the palace of the Oba of Benin, in Benin City, Nigeria. The Oba is the traditional ruler; obas date back many centuries. The large photo was shot in the interior of the palace of Chief Idah, one of the Benin chiefs and an artist (the art shown was his work). The famous Benin bronzes come from this kingdom. Recently, some of the Benin artwork stolen in the late 19th century was returned. Many museums around the world contain work by these unnamed artists who created world-class masterpieces.

As of this writing, I am hoping to return to Nigeria once again for a conference and a series of university lectures in May of this year. I lived there twice and have visited a few times since. It is possible that I shall lecture at the University of Benin.

this painting is part of a larger body of work that explores the idea of creating pictorial space by layering and juxtaposing shapes of varying opacity

thanks for considering my work!

This is one of my “what if” poems, reflecting on a different outcome of the life of one of the 20th century’s most important figures. The photo, rather than show the Anne Frank House in Amsterdam, which, to me, would be too predictable, it is, instead, a window of a house in the Maritimes, Canada, selected because of the quietness, the possible secrecy behind the tightly closed curtains, chosen for this poem’s poster when spotted on a walk.

“CIC Yes” give it up for CICF as the beginning of its title dipicts the letters from CICF and the last word is YES, so when you put them together you get to say Central Indiana Communities, Yes! Yes, it is a play on words but what other single word can you say to best discribe the impact that CICF has had on Indiana? The word is YES!!!

This Artwork can also come in any size or sizes you need, to fit any wall. Available sizes include: 36″ x 48″ , 40″ x 60″ , 60″ x 60″, 40″ x 72″ , 48″ x 72″ , 40″ x 80″ , & 60″ x 90″

Do you have the power to let power go

What if chaos itself isn’t necessarily a bad thing but it’s our relationship to it that makes it so? I had been mulling over this thought for weeks before I decided to explore it through brushstroke and paint on this canvas. If it’s not the chaos itself, but how we respond that creates tension, then what would it look like to change our approach?

Over the past year I have been working hard to improve my figure drawing skills, practicing at home as well as attending frequent live model figure drawing sessions which is where I created this drawing. I hold this work of art as a bit of a milestone on my ongoing journey to improve my ability to capture the spirit, movement, and essence of each figure I draw.

I grew up in the peony business, with my mom’s small field rolling out hundreds of stems each spring. These flowers are a marvel of nature, massive, stunningly gorgeous, and just as equally fragrant. They’re just the type of flower that tends to hold special memories, not only for me and my family but for people everywhere. So for every special memory held in a peony flower, this is my homage.

The painting “Composite of a Black Man” is a captivating exploration of the diversity within the Black male experience, presented through a striking visual composition. Surrounding this central portrait are multiple squares containing a different Black man’s face. These faces vary in hair texture, skin tone, facial features, and expressions, showcasing the rich diversity within the Black community. The squares come together on top of a larger image of al Black man, symbolizing the collective experiences and identities that contribute to the complexity of Black masculinity.

This painting is of a field of flowers with a sky full of light bulbs that are in the place of stars. The idea behind this one came from the concept that when you go out at night, it’s harder and harder to see the stars because of all the lights in the city. But instead of that being a negative thing, in this painting, it is the cause of the flowers being able to grow.

Exploring minimalism on black canvas.

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Exploring minimalism

This Artwork depicts a vast array of different shape and colors that represents people from all walks of life, occupations, demographics, races & status that has come together in perfect harmony to create a much needed perfect picture of the world masterpiece, from an Artist’s POV.

This Artwork is an eyecatching conversation piece that is sure to have viewers taking photos of it to share, reflect on and to have fun with trying to figure out which object in the painting represents them.

This piece is part of my Lost Boys series. As we build our archives for the Southside communities, there are so many people who we can not identify. I wanted to find a way to honor these people, in hopes that one day someone will recognize them and return their names and stories.

This painting is part of a larger collection exploring the history of Norwood, a small Reconstruction Era community in Southeast Indianapolis.