I am inspired by bold colors and structure reminiscent of Caribbean architecture as well as biota representatives of the Dominican Republic and Puerto Rico. My work provides a transcultural meditation on the ways in which humans are socialized to engage with one another as well as themselves. Informed by the sociological works of scholars such as Sabrina Strings, Julian Go, and bell hooks, I consider my practice to be postcolonial, not in reference to a specific moment in time after colonialism, but rather offering a perspective that strives to look beyond the confines of Eurocentric standards of existence.

In regards to historical ceramic practice, the clay reflects a body, a permanent manifestation of kinetic energy. Throughout clay’s extensive history, many have sought to impose characteristics akin to those applied to humans. A desire for all these vessels to be smooth, thin, and delicate. Rather than carrying on this tradition, my vessels consider the holistic human condition, a circumstance that is rough, complicated, and jagged. Whether working with wheel-throwing or handbuilding, each piece is meticulously incised and layered with intense pigments.

My artwork, characterized by its eye-catching nature, demands attention yet remains approachable through multilingual prose, comedy, and cultural motifs. Employing technical mastery of color and chemistry, it captivates the audience, inviting them to sit and absorb both their visual and contextual complexities. This work is an immersive experience—an international conversation on the imperative journey towards self-decolonization. Navigating intersections of queer and diasporic identities during my youth heightened my awareness of these conditions, significantly influencing my approach to being and artistic expression. What began as a therapeutic outlet evolved into a profound declaration of self-decolonization, challenging interpersonal relationships and one’s connection to their surroundings.