A lot of your work speaks on topics of colonialism, indigenous history, spirituality, and your ancestors, etc. Can you talk about how these topics became prevailing themes in your work?
In high school I became part of student empowerment group for Black and Brown youth called ST.E.P. which placed college students of color to mentor high school students. Through that group I learned so much of my people’s history, spirituality and most importantly lit that fire that made me want to educate myself the correct way. From that point on I was basically hooked on learning as much as I could on colonialism, indigenous spirituality, and the brutal and beautiful history of Natives, Europeans, and Africans in the Americas. Ancestors hold a powerful role in my life. I see it as a duty and an honor to place the ancestors in my art as a homage to what they have done to keep us alive.
Being a new parent, how do you pass on to your little one how she can explore her own creativity?
I am currently in NYU’s Art Education Masters program where I am reading and learning a ton on how to cultivate human development through the arts. So I am more aware of what my role should be in letting her explore and learn on her own. Play is also so powerful for children, especially toddlers for development, just letting her play, play with other children, play with different materials, basically touching all the bases for her multiple senses. My wife does a great job at taking her to classes that help with that. Also my wife usually has our daughter in her dance company rehearsals which is great.
Your wife Adia is an Afro-Haitian dance instructor. How does her cultural history— that is so prevalent in her work—intersect with yours in an artistic context, as well as a personal context?
Both of our art forms are clearly understood to be part of lives, not something separate. We are our art, our art is us. We not only share that quality but also a great love for our ancestors, which we work with in our art forms all the time.
What materials do you enjoy creating the most with?
At this moment in my life I am really enjoying working with ink, pencil, charcoal and markers. In regards to my 3D work with altars I love working with a large variety of materials, from animal skulls, knives, machetes, food and textiles.
What’s the difference in experience for you between creating life-size mural pieces in a live environment (like a mural on a wall) compared to a stationary canvas in a contained space?
Huge difference. My murals are usually created with the surrounding communities, folks on the block. There is a very interactive element with other people. It is also a different experience in that while you work on a mural in a public space you are always being asked questions and being given feedback from the average person walking by. A piece on a canvas that ends up in an enclosed space is way more personal, I can meditate and reflect on my process on an individual level.
You love doing portraits. How do you find your subjects?
I used to use other artist’s photography up until a few years ago. Now I take my own photos of friends. For the series that I’ve been working on for the last few years I focus on Brown people of the Americas and the Caribbean.