This reflects the difficulties I encountered while creating digital art; although opportunities often appeared to slip by, the "when" moment was always approaching.

Most people are likely familiar with the expression "having a place at the table."  
The table has come to represent authority, bartering, and credibility as a means of advancing one's career. We long for the window to be in the spotlight, but it's always crucial to recognise the people who helped you get there.

A work produced for an exhibition at the renowned Tate Modern Gallery in London as part of a partnership between Instagram and myself for Meta’s Creator Week 2022.





A Seat at the table

The title best describes what this body of work is about, trying new things and seeing if they work. I learned how to make one because it's the most common element in all my pieces, the symbol of freedom, the symbol of growth, and the symbol of transforming into a better version of yourself.

This piece is the only one with an unfinished section, mainly because I ain't done with creating yet and I don't think I will ever be.

Origami Butterfly

Inspired by the Greek mythological tale of Pandora's Box. 
Pandora possessed a jar filled with various forms of suffering and evil in Hesiod's Works and Days. According to Hesiod, she unlocked a jar that had been in her husband's custody out of curiosity and unleashed bodily and emotional curses on humanity.

Pandora's box contains the 7 deadliest sins: Wrath, Gluttony, Greed, Envy, Sloth, Pride, and Lust. They were all accidentally opened by the Alicorn Pandora Star.

This is a prequel to my upcoming series "S7VEN" telling this tale from an Afro-futurist lens.

Pandoras Box

Azraelle is the Goddess of Life, Death and Rebirth.
She is one of the Parcae, related to the conception of the Fates in mythology.

When making this piece I wanted to give an Afrofuturist take and interpretation to such a powerful being that holds the scales of life in her hands.
1/1

Whats a God To A Non Believer : Azraelle

"Where are my Keys Bruh!" (2023)
Ever lose your keys and have that 5 min heart attack looking for them? 

"Where are my Keys Bruh!"

Welcome to the USA.. riding the Harley into the sunset....at 3am

Easy Rider

This remarkable artwork was commissioned by the esteemed Boston Globe, a venerable institution known for its distinguished contributions to the world of culture and art. The piece is an extraordinary reimagining of Johannes Vermeer's celebrated masterpiece, "The Concert," a painting that has captivated audiences for generations with its poignant portrayal of music and human connection.

As the artist, I had the privilege of bringing a unique and distinct vision to this artwork, infusing it with the inimitable aesthetic and ethos of Afrofuturism. My creative process was characterized by painstaking attention to detail, as I sought to imbue every element of the artwork with a cohesive and striking visual direction that reinterpreted Vermeer's original narrative through an innovative, futuristic lens.

Throughout the course of my work, I remained acutely aware of the legacy and cultural significance of Vermeer's original masterpiece, and endeavored to approach my reinterpretation with the utmost reverence and humility. At the same time, I was driven by a passionate desire to explore the vast and exciting possibilities of Afrofuturism, and to create an artwork that would honor both Vermeer's legacy and the rich cultural heritage of the African diaspora.

Although the intended NFT curation unfortunately did not come to fruition, I am deeply proud of the artwork that I have created, and the way in which it speaks to the transformative power of art and imagination. I am honored to have had the opportunity to contribute to the Boston Globe's legacy of artistic excellence, and grateful for the support and guidance that I received throughout the commissioning process. Ultimately, I hope that this artwork will inspire and captivate audiences for generations to come, serving as a testament to the limitless potential of artistic creativity and expression.

The Concert: Homage to Johannes Vermeer

Afro-surrealist collection of artworks showing my life history as a digital collage artist that practices afrofuturism.

AFROSURREAL COLLECTION

The piece hilariously was inspired by the film "Nope" by Jordan Peele, the film was unique because it was very layered and thought-provoking. 

This is something I aspire to have after every release, an engaged audience that analyses all the easter eggs I've placed in the artwork.

The Analog and Digital combination is intriguing because you essentially create your own assets. Freedom and liberation could not be put into words.

Ultra Light Beam

A Ring of Endless Light

Medium: Digital CollageDimensions: 3500 x1996Year: 2024<h4> </h4>In a time after freedom, when the chains of colonialism had been shattered and Africa rose again in unity, a powerful tradition emerged that honoured both the ancestors of the past and the limitless potential of the future. This powerful ceremony, held every 10,000 years, is a celebration of the eternal connection between the earth, the stars, and the unseen realms. This ritual represents a moment of profound cosmic balance, where the forces of past liberation and future progress converge in a harmonious union. &gt;&gt; The Ritual" is more than a ceremonial depiction; it is a narrative of African excellence and cosmic destiny. It honours the resilience, wisdom, and enduring legacy of Africa’s ancestors while imagining a future where their spirit continues to shape the universe

The Ritual

SuperRare

Styx is a deity and a river that forms the boundary between Earth and the Underworld. The rivers Acheron, Cocytus, Lethe and Phlegethon all converge at the center of the underworld on a great marsh, which is also called the Styx. 

Styx is also a goddess with prehistoric roots in Greek mythology as a daughter of Tethys, after whom the river is named and because of whom it had miraculous powers.

Charon often transports the souls of the newly dead across this river into the underworld. 

Whats a God To A Non Believer : Styx

Foundation

"High Thoughts" (2023)

the creative process sometimes needs an altered state of consciousness.

High Thoughts 

Not Just Some Sad Dude!

High Thoughts

The Impermanence of All Things

Created using Adobe Photoshop, Adobe Illustrator  
Dimensions: 7111 × 4000  
Technique: Digital collage/illustration

Inspired by the poignant tale of Sarah Baartman, also known as Venus Hottentot, and the iconic work "Birth of Venus" by Sandro Botticelli, this artwork transcends time to weave a narrative of resilience, exploitation, and the enduring quest for true liberation. Afrofuturism plays a big role in my creative process, with this in mind...A black woman, a symbol of strength and grace, stands as the central figure, embodying both the goddess Venus and the tragic echoes of Sarah Baartman's life. A life that needs to be remembered, a story I want to be preserved on the blockchain.


They Promised her Venus but gave her a Cage in France... 
They promised they would crown her but gave her chains instead...  
They Promised she would be a star but she was a circus act to them. 

These words form a haunting poem, encapsulating the disillusionment and the heart-wrenching transformation of a promise into a nightmare.

HISTORY

Sarah was a Khoikhoi woman who was exhibited as a freak show attraction in 19th-century Europe under the name Hottentot Venus, a name which was later attributed to at least one other woman similarly exhibited. The women were exhibited for their steatopygic body type uncommon in Western Europe which not only was perceived as a curiosity at that time but became a subject of scientific interest as well as of erotic projection.

''La Belle Hottentote'', a 19th-century French print of Baartman  
"Venus" is sometimes used to designate representations of the female body in arts and cultural anthropology, referring to the Roman goddess of love and fertility. "Hottentot" was a colonial-era term for the indigenous Khoikhoi people of southwestern Africa, now usually considered an offensive term. The Sarah Baartman story is often regarded as the epitome of racist colonial exploitation and the commodification of the dehumanization of black people.

POSTER ADVERTISING HER

JUST ARRIVED FROM LONDON, And, by Permission, will be Exhibited here for a few days, At Mr James's Sale Rooms, Corner of Lord-street,

THAT MOST WONDERFUL Phenomenon of Nature, THE HOTTENTOT VENUS, The only One ever exhibited in Europe. In viewing this Wonderful LIVING Production of Nature, the Public have a perfect specimen of that most extraordinary Tribe of the Human Race, who have for such a Length of Time inhabited the most Southern Parts of Africa, whose real Origin has never yet been ascertained, nor their Character, which has been so differently described by every Traveller who has visited those remote Regions of the World; and considering the natural morose Disposition of those People (who are scarcely ever observed to laugh) she is remarkably mild and affable in her Manners. She has had the Honor of being visited by His Royal Highness the PRINCE REGENT, and several Branches of the ROYAL FAMILY, also the principal NOBILITY, of both Sexes, in England, and declared to be a great natural Curiosity, well worthy the Attention of the Public. 

She is particularly obliged to the Female Sex who have so liberally patronized her Exhibition, and more especially after the malicious Reports circulated to her Disadvantage after her Arrival in this Kingdom; but which have been long since proved to be groundless. 

Over her Clothing, which is suitable to this Climate, is worn all the rude Ornaments used by that tribe on Gala Days.

N. B. Elegant Engravings of the Venus, by Lewis, sold at the Room. ADMITTANCE ONE SHILLING.  
CHESTER, PRINTED BY J. FLETCHER.

They Promised Her Venus, But Took Her Freedom.

Untold Histories: Artistic Reflections on Colonialism

Created using Adobe Photoshop, Adobe Illustrator, Mixed Media  
Dimensions: 7111 × 4000  
Technique: Digital collage/illustration/Painting on canvas  
Inspiration: Embracing the Uncharted: Lessons from Family Bonds

The title "Embracing the Unhappy Unknown" reflects the inspiration drawn from my cousins in South Africa. Observing them play and sing within the confines of their low-cost economic housing painted a vivid picture of their resilience. This encounter marked my introduction to a different facet of my family, scattered worldwide due to the historical impact of colonialism. As I watched them engage in a game of hide and seek in the open field, it became evident that their connection transcended their environment and upbringing.

Despite their circumstances, my cousins remained inseparable, their sibling bond unbreakable. From that day to this very moment, they continue to share an unshakable closeness that I have seldom witnessed. Their companionship goes beyond mere shared activities – it's a profound connection that underscores the true essence of family. They navigate life hand in hand, drawing strength from one another through thick and thin.

This piece serves as a tribute to my cousins, a reflection on the profound impact family can have on one's life. It's a reminder that even in the most challenging times, having a family to rely on is an invaluable treasure. A best friend who is also a blood relative is a gift beyond measure. Their unwavering unity is a testament to the fact that when darkness descends and trials emerge, it's family that becomes our unwavering support.

As I penned these words, my thoughts wandered to those cousins who ignited this narrative. Their lives, their unity, and their unyielding bond taught me a lesson that transcends borders and circumstances. Their example underscores the power of family to illuminate even the darkest corners of life's journey.

Embracing The Unhappy Unknown

Created using Adobe Photoshop, Adobe Illustrator  
Dimensions:  7111  x 4000 
Technique: Digital collage/illustration  
Inspiration: Navigating the Diaspora with Family

The origins of this piece trace back to an unexpected source: summer. As I find myself situated in the UK, a stark contrast to the perpetual sunshine that envelops Zimbabwe year-round, the allure of a British summer is not lost on me. While not quite the unceasing sunshine of home, it's a delightful change that I cherish. Back in Zimbabwe, sunshine was a constant companion, almost a given with our tropical climate.

Reconnecting with my roots and my homeland, despite the distance, is a task I hold dear. The screen becomes my bridge to that familiar world, a world that still resonates within me. The importance of this connection cannot be overstated. Speaking with my family, even if it's through digital channels, injects a burst of radiance into my day. They are my beacon of light, the ones who remind me of where I come from and who I am.

Being part of the diaspora presents a unique dichotomy – you're connected to the continent in a profound way, yet you're physically removed. It's a bond that is unbreakable, a testament to the unyielding ties that span across oceans and continents. The strength of this connection lies in its resilience, in its ability to anchor you amidst the waves of change and distance.

As I pen these thoughts, the realization dawns that my family is my constant, my source of unwavering strength. In a world that often feels scattered and transient, they serve as a reminder of the unchanging essence of my identity. They are the embodiment of my heritage and the carriers of traditions that have been passed down through generations.

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