“My paintbrush collects moments in time, past and present, encapsulating them in my work. I use my childhood memories, Bahamian iconography, and practices from my Abaco upbringing as my work’s foundation. These elements connect to the shared experiences of many Bahamians growing up. The dreamlike essence that clings to these memories is portrayed in my work with gauzy application and playful mark-making. The center of my memories is the natural landscape, particularly the sea, weaving throughout my experiences as an integral constant. This formation of memories made in the natural environment is a generational experience, passed down through many years. However, while cherishing these memories, I simultaneously worry about future ones due to the depletion and deprivation of Abaco’s natural landscape. These memories converse with each other in my work - the cherished ones already made dance with the possible future ones that portray a potential reality. The multifaceted imagery of the stamp in my body of work represents both my process of collecting memories, much like stamps are collected, and how a stamp can serve as a facade for a not-so-bright future reality.”