A woman with long, light-colored hair wearing a blue jacket, large sunglasses, and a colorful flower crown is taking a selfie in a mirror, holding a small brown dog in her arm. The background shows inside a room with clothes and miscellaneous items.
Partially visible person's face with dark skin and dark eye, holding two sketches of nude female figures, one in black ink and one in pencil, on paper folded in a booklet.
An art installation consisting of 20 open sketchbooks arranged in a grid on a wall, each displaying diverse drawings, sketches, photographs, and mixed media art.
Arrangement of open sketchbooks and notebooks displaying artwork and photographs, with a detailed pencil drawing of a landscape scene with boats and a wheel on the right side.
A woman taking a selfie with a camera in a mirror, holding a small dog, wearing a colorful flower crown, inside a room with large windows and artwork on the walls.

As a forever art school kid, my sketchbook has always been my diary.

Spending time in my studio with my high school sketches, paintings, and prints — as I experiment with media that I haven’t explored since art college freshman year. Excited to see how younger me informs my current art practice..

Washer Woman Was Here no.1, 2025

A glimpse of where it all began—back in June 2024, during my residency at MacDowell where I laid the first seeds of “Washer Woman Was Here.” This project is a living, breathing altar to hurricanes as goddesses: physical and spiritual forces—a tribute to the divine feminine energy that transforms, heals, and renews.

Here’s behind-the-scenes of my process—video footage from in my studio that are all shaping the vision for this future sculptural installation and performance. I can’t wait to bring this vision fully to life and return one day to the special place where it all started, to make more magic. For now, I’m just as excited about the journey.

  • A series of six white pages with photographs and handwritten notes arranged in a horizontal line on a white background.
A handwritten note with the words, 'If we don't tell people how we feel how will they know,' and a typed message below it that reads, 'time spent healing is never wasted'.

As Baltimore School for the Arts Artist-in-Residence my sketchbook became my healing diary. During my archival process, I remind myself — That healing is not linear. There is strength in my soft vulnerability. When I share my journey I feel connected to others. Stay open to receiving love and support in the same ways that I give. This project is ongoing and will inform new artworks. For now, this series is simply the space for me to give voice back to the little girl who was silenced.

Untitled (Redacted Child), 2024

A wooden table with black and white photographs laid out on it, with a smartphone on a tripod, a pair of scissors, and a sweater hanging on the chair. Blurred white wall with dresses or garments hanging on it in the background.

Untitled (Washer Woman Was Here) no.1-3, 2024

During my time as an artist-in-residence at MacDowell, I began researching hurricanes, not only as a rapidly rotating storm system but also the significance as a spiritual phenomenon. I am documenting my — research process, art-making practice in studio, and investigations using plant medicine. 

If you were to ask me ‘what is a hurricane?” I would say, “for my people (of the West Indies) a hurricane is a goddess. — indeed, an angry goddess”. I am imagining The Washer Woman as the physical embodiment of cleansing deep wounds with the sustained force of a tropical cyclone.

Two photographs with captions. The left photo shows an 8-year-old girl in a white dress standing against a red wall in Manhattan, NYC, 1989, after her first communion. The right photo shows a woman holding a baby outdoors, with trees in the background. The woman is identified as Cynthia Veronica, born November 17, 1936, in Panama, holding her grandmother.

after my first communion we went to the bodega (series), 2024

Growing up, I went to catholic school in Manhattan. I learned about rituals there. I danced in pews. I skipped down gothic-arched-lined halls. Little me played in all the golden gilded spaces. Little me spent so much time there. I wasn’t able to touch the altars; access reserved for priests and altar boys. I was only allowed to admire those spiritual spaces from a distance. So I began to create my own altars, using objects that I cherished and loved, just like *mi abuelita (my grandmother) taught me. [*Cynthia Veronica b. November 17, 1936 Panama]

MATERIALS: foam trays, plastic wrap, vegan leather glove, gold enamel catholic medallions, glass bottles with metal lids, eucalyptus oil, sorrel tea serum, communion wafers, communion cups, rosary beads, hair pick, comb, brush, plastic clips, gold hoop earrings, polaroids, astroturf. DIMENSIONS: 24 in x 24 in (installation)

Color photograph of a smiling man with a beard wearing a flat cap and a light-colored polo shirt. Next to it is a black-and-white photograph of a man sitting on a curb with his legs crossed, wearing a shirt and sandals, with a woman standing behind him. There are some people and buildings in the background of the black-and-white photo. The caption below the black-and-white photo reads: 'Robinson Joseph Meade Jr, born September 18, 1932, Panama, my grandfather.'

my abuelo loves me en inglés and in spanish (series), 2024

Since I was little, I’ve always loved my mother’s handwriting. When I want to hold onto a memory, I ask mi mamá to write it down so that I can infuse her hand into the fibers of my artworks. Mi abuelo (my grandfather) Robinson Joseph Meade Jr, b 1932 in Panama, was the first man whose love for me was protective — one of the only men. Despite no longer being here in body, he still keeps me safe. I am creating artworks that serve as both an altar to communicate and to honor mi familia (my family) legacy.

MATERIALS: Ceramic Dinner Plate, Ink, Gel Medium, Enamel, DIMENSIONS: 8.5 in x 8.5 in

Two Polaroid photos of a woman wearing a red shirt with white text and a medical cross symbol that says, "OFF DUTY, SAVE YOURSELF." The photos are on a white wall, with the left photo showing her face and part of her torso, and her head turned slightly away. The right photo focuses on her torso, with her face not visible, highlighting her tattoos on her left arm.

my first job was a lifeguard. I was trained to save others at fifteen. I learned how to care of myself in my forties (series), 2023-ongoing

Artworks from series were on exhibition in "Connected Diaspora: Central American Visuality in the Age of Social Media" at Bennington College Usdan Gallery. In collaboration with exhibition curator and artist Veronica Melendez, the exhibition casts light on a new generation of artists who visually reflect on U.S. Central American lives and experiences in the era of social media.