Chamver: 12 (2013)16in x 24in x 6in Engraved & Carved and Wood with Oil paint This piece is based on meteorites and comets. Using material that can be shaped to reference a different material or become an indecipherable material. This piece would hangs on a wall vertically facing others vertical drawing the viewer upward.

Bolide de Veritate: 013 (2013) 12in circumference Engraved & Carved and Wood with Oil paint These pieces are based on meteorites and comets. Using material that can be shaped to reference a different material. In creasing this series, the most recent works are carved into slants making multiple layers with the intention of causing the viewer to shift physically. Consider which perspective the prefer. The engraved lines reference navigation and cyphered language. Influenced by African wood pattern making I experienced in Kenya and game pieces. Each piece was carved out of a tree during my residencies at Woodstock Byrdcliff and Ox-Bow. The act of going into a forest among rock and trees influences the aesthetics of each piece.

Bolide de Veritate: 012 (2013) 12in circumferenceEngraved & Carved and Wood with Oil paint These pieces are based on meteorites and comets. Using material that can be shaped to reference a different material. In creasing this series, the most recent works are carved into slants making multiple layers with the intention of causing the viewer to shift physically. Consider which perspective the prefer. The engraved lines reference navigation and cyphered language. Influenced by African wood pattern making I experienced in Kenya and game pieces. Each piece was carved out of a tree during my residencies at Woodstock Byrdcliff and Ox-Bow. The act of going into a forest among rock and trees influences the aesthetics of each piece.

Bolide de Veritate: 011 (2013) 8in circumferenceEngraved & Carved and Wood with Oil paint These pieces are based on meteorites and comets. Using material that can be shaped to reference a different material. In creasing this series, the most recent works are carved into slants making multiple layers with the intention of causing the viewer to shift physically. Consider which perspective the prefer. The engraved lines reference navigation and cyphered language. Influenced by African wood pattern making I experienced in Kenya and game pieces. Each piece was carved out of a tree during my residencies at Woodstock Byrdcliff and Ox-Bow. The act of going into a forest among rock and trees influences the aesthetics of each piece.

Macrocosmic Test 00001 (2013) 10in x 3in x 10in Wood & Oil Paint These pieces are based on meteorites and comets. Using material that can be shaped to reference a different material.In creasing this series, the most recent works are carved into slants making multiple layers with the intention of causing the viewer to shift physically. Consider which perspective the prefer. The engraved lines reference navigation and cyphered language. Influenced by African wood pattern making I experienced in Kenya and game pieces. Each piece was carved out of a tree during my residencies at Woodstock Byrdcliff and Ox-Bow. The act of going into a forest among rock and trees influences the aesthetics of each piece.

Macrocosmic Tests (2013) Various between 4in and 9in circumference Engraved & Carved and Wood with Oil Paint These pieces are based on meteorites and comets. Using material that can be shaped to reference a different material. These wooden pieces are part of one installation where small wooden objects were places in a dark wooden room building a context between object, viewer, space, and light.

Key Asque Enter Face (Texter's La Bor Tory installation) (2013) 4ft x 4ft x 5ftEngraved Wood, Computer, Photo Enlargers, Metal, Gold Paint This is the center piece for the "Texter's La Bor Tory" installation of the "Coming Through the Gap in the Mountain on an Elephant" exhibition. I created pieces based upon the idea of time shifted technology used as alternative tools of inquisition. This computer station all for audience interaction and performative use and misuse. Although part come from photography enlargers as a reference to "magic and technology", it also contains an engraved wood carving of pathways as a table referencing the other works.

TreEminisha James - New Dream A.G.E. (2013) 5ft x 1ft x 8ft Bike Rims, Steel, Gold Paint This is the "stage left" piece for the "Texter's La Bor Tory" installation of the "Coming Through the Gap in the Mountain on an Elephant" exhibition. It combines the ideas of an educated negro kidnapped by magicians in the opera of Treemonisha and my perspective on the intellectually valueless lyrics of Trinidad James "All Gold Everything." Using a reframe to reference dreams and bike wheels to reference travel and growth.

F.O.C.U.S. on This Acronym means Nothing (2013) 40in x 4in x 40in Engraved Wood, Acrylic, and Embedded Lights This is the "stage right" piece for the "Texter's La Bor Tory" installation of the "Coming Through the Gap in the Mountain on an Elephant" exhibition. The piece functions as a play on vision/focus games. But the pattern is a reference  to the 4 chord harmony of a musician named Lightning Hopkins who develops his talent and reputation near the location of the exhibition. A subtle light brightens the piece in a ring two inches from the edge of the work.

Coming Through The Fear of Impossibility on a Myth w/ InOrder of Things (2013)Performance, assembled wood, 25ft wood assembled wood sculpture, gold paint "InOrder of Things", a collaboration with artist Monica Villareal, is a 25ft circumference sun created from a conceptually specific 11 primary parts. Made of wood and gold paint as a reference to international material mythologies. "Coming Through There Fear of Impossibility on a Myth" is a collaborative performance with dancer Abijan Johnson based upon a poem I wrote. The poem is played in the gallery as audio for the performance where Johnson and myself, analyze and configure multiple assembled pieces of wood to form a tower "in front of the sun". At some points the structure is assembled around her as a containerand then she climbs through and gets on top over time. After the performance the tower became part of the larger "sun" installation. The title is a play on the exhibition's title "Coming Through the Gap of the Mountain on an Elephant."

The Wait of it All (2013) This was my final piece of a dance and choreography residency where I proposed making work that shows the difficulty of evaluating the weight of objects, ideas, and feelings. This was part of my transition back into residencies after my injury. When I began the residency I explained that I could do most movements and interactions but I could not carry a weight such as a person. I finished by choreographing and performing in a piece where another dancer was a "sculpture" being carried and moved around while also moving the artist. My piece became the exact thing I said I could not do, but using a person as object. After the performance I began making wood carvings again.

Shifting Inversions (2013) Performance on Wooden Floor A performance with improve musicians at Atlantic Center for the Arts where I performed a conceptual attempt to "Sculpt and Carve the World" as a repetitive act against gravity. The movements went from complete failure at an upside down handstand while pushing on the floor to a successful handstand. The performance on "wood" related to the idea of my woodcarving but also the inability to change the world through art while consistently and repetitively attempting.

Skitt Lies in Blacksphace (2012) 20in x 20in x 36in Black Fighting Fish, Game Board, Used Motor Oil, Water, Skittles, Game Pieces, 2 Fish Jars This is a conceptual game I created in my studio where visitors/players were given "arbitrary instructions on How to Play the Game" which allowed them to place the black & white pieces anywhere on the board. The piece was a response to my personal childhood experiences similar to the Treyvon Martin case. The Black Fighting Fish (which is technically a Beta Fish), a metaphor for "labeled" identity, swam inside a jar of water. The jar of water sits inside another jar full of skittles in black motor oil which also makes the fish water appear black and often hides the fish. The use of "segregated" oil and water references the usage of "oil and water don't mix" in discussion of race and integration.

Optimus PrimAtive Prologue - performance installation (2012) Found objects, board games, & historical notes This is the space of an exhibition performance after its conclusion. Visitors were given an imaginative outline for my character being a time traveler who need there assistance reassembling reality. The goal was to get the community to think and communicate outside of rules and expectations. Each visitor was asked to find questions in a game and then find answers in other non-related games and place them on a wall or in the room so that others could consider the relationship and help form a new collectively accepted reality of history, the present, and possible future.

Optimus PrimAtive Aqua Attempt 0001 (2012) HD Video Still from video where I use found objects around Skowhegan to attempt time travel as part of a performance series. Because of my injury I began receiving aquatic therapy in the cold lake. Underwater in near ice temperatures was the only place my body could move with less pain compared to on land where every footstep hurt. So the idea that I could "travel" with reduced gravity was the concept for the short film.

Crossed Crossing (2012) 3ft x 3ft x 4ft Found object assemblage, lights, collage projection A portrait of an American Kenyan I met in my 2009 trip to Kenya. This piece incorporates my original photography and burnt photography of the subject projected onto disassembled pictured frames from her Kenyan home after a fire, laid on a suitcase that sits on a backward speaker. I document her and her home post fire and was allowed to take portions of her home for future artwork.

Vault of Subsistence (2012) 2ft x 3ft x 3ft Found Objects & video projection Site specific installation of objects from a dilapidated boiler room on a Civil War grave site. The object from the building were installed within, and images of the plant growth from outside the building were projected onto one of the door passages.

Perseverance (2011) 6ft x 2in 6ft Carved and engraved Birch panel wall relief sculpture A biographical commissioned piece representing the life, struggles and travels of an elder friend. Each centered circle represents a time in her life and the number of line cut into each other at different thicknesses represents the difficulty. The multi-cut layered lines not centered are a map of locations she lived. The single lines off center represent specific struggles

She’s HeLa Complex : 18 Chromosomes (2011) 40in x 40in x 2in Stain on Engraved Oak Wood Panel An abstract interpretation of the life of Henrietta Lacks, a woman whose cells have been experimented on for decades to find cures and disease functionality. She lived during a time of social segregation and medical segregation where doctors removed her cells without permission and used them for experiments after her death. The medical descriptions of these cells functionality reflection social stereotypes and fears of african-americans during that time being socially disruptive or taking over things. This work was created to reflect this idea of "immortality" and disruption as social beauty.

for Navigating Infinity (Full Installation) (2011) Wood Carving and Wooden Handmade Writing Stands As part of the Communagraph 3rdWard community mapping project at Project Row Houses I created an installation within one room with 4 other artists also creating installations with the same space. My piece was an artist’s representation of a community meeting "Elders Circle," where I interviewed and wrote poems representing specific people. The sculpture on the wall represents the way people sit in a circle and walk within the circle to dialogue. The three stands are for people to write narratives to add the piece. When the poems are performed the piece comes off the wall and is laid on the floor with chair surrounding suggesting circular community "interdependence." My goal was to make are work that also influence human function and interaction. A web artwork related to the piece was also built but will not be made public until late February.