My practice examines migration through the conditions of carriage: weight, balance, movement, labor, and the negotiation of what is carried forward and what is left behind. Working across ceramics, performance, and mixed media, I approach cultural identity as a process of becoming, continually reconstructed through movement across geographic and social contexts.
Clay anchors this inquiry through its material memory and relationship to land, labor, and home. Its capacity to be broken down, reclaimed, re-formed, and fired again parallels the cycles of becoming within diasporic experience. Through handbuilding, repetition, and assemblage, I construct forms held between stability and movement, foundation and growth, fragmentation and reconstruction. The labor of making becomes inseparable from the labor of becoming.
My sculptural language draws from Ghanaian visual traditions, particularly the saturated aesthetics and modular structures of Krobo beads and the tactile surfaces of earthen architecture. These references are enlarged, repeated, fragmented, and reconfigured into what I call vessels of carriage, forms that hold and transport cultural memory while acknowledging that what we carry is transformed through movement.
Reclaimed bicycle frames, tubes, tires, gears, chains, and steering components extend this language of carriage, introducing physical conditions of tension, friction, direction, adaptation, and control. Through the convergence of clay, Ghanaian visual languages, modular construction, and bicycle mechanics, I give physical form to the ongoing negotiation of migration, memory, identity, and belonging. Home, within this framework, is carried as much as it is inhabited.