averyʎoungblood

→ ultra-sound [2023]
→ ↪ video installation
→ ↪ watch here + exhibition

ultra-sound is a deeply introspective and semi-autobiographical project that delves into the intricate fabric of the Black family unit, adolescence, technology, and growth. Rooted in personal experiences and memories, this creation takes an innovative approach to storytelling, defying linear time and embracing the complexities of memory and identity.

The title ultra-sound embodies the enveloping sensation of life within the mother's womb. It’s the essence of that abstract warmth, the sanctuary of safety, and the yearning to both embrace the external world and yet remain cocooned in security within a familiar familial embrace.

At its core, ultra-sound offers a poignant reflection on the essence of the Black family within the context of white suburbia. This exploration extends to themes of childhood, love, dreams, resilience, and growth. Through the lens of video-making and familial connections, ultra-sound becomes a creation of voyeuristic self-discovery through a loop of past reflections weaved into a mesmerizing tapestry of emotions.

In addition, the video's MFA thesis exhibition installation juxtaposes the past and present, realized through archival super-8 footage meticulously collected over time. This visual narrative is brought to life within a moving image installation of super-8 editors, connecting generations and bridging the gap between memories and the contemporary world. Accompanying this installation is a CRT TV monitor, powered by a raspberry pi 4, which showcases my thesis video. This synthesis of technology and personal history serves to accentuate the project's themes and emotions.

ultra-sound reaches its zenith as an experimental documentary that intertwines the tender cadence of a mother's voice messages with the candid lens of a father's camcorder recordings. The outcome is an audio-visual symphony that artfully captures the essence of familial bonds, growth, and shared history. By intertwining these two distinct media sources, along with various others, the project crafts a multidimensional portrayal of family dynamics, emphasizing the intricate ways in which relationships are nurtured and communication unfolds.

The film weaves an audiovisual experience that parallels the intricate relationship between technology and humanity. This exploration provokes how our connection with technology mirrors the intimate bond of a child with its family. Just as the child senses the world through the mother's womb, technology becomes the conduit through which we experience and interact with our evolving reality.

Within this artistic exploration, the project delves deep into the realms of memory and identity, offering viewers a compelling journey through the tapestry of personal history. By spotlighting the nuanced and multifaceted nature of human connections, ultra-sound sheds light on the profound complexity that underlies our most cherished relationships. Through its thought-provoking narrative and innovative presentation, the project ultimately invites audiences to consider their own familial narratives and the profound impact of technology on the shaping of memories and identities.

[photo credit: jackie furtado]

→ suburbia [2023]
→ ↪ typeface design
→ ↪ view here

i grew up in a family of 8. mom, dad, 5 girls, 1 boy. 3 dogs. texas. the suburbs. at the end of a cul-de-sac. black. middle-class. upper-middle class white neighborhood. it always begins and ends the same...out there. in the burbs. round-and-round the cul-de-sac. ask yourself, what would you do while no one's watching? behind 4 walls? within an enclosed circle? round-and-round in the cul-de-sac. under chlorine? in a tree? over the garden wall? does time ever change here? move forward? stop.

to me the suburbs is looking out the window, watching the neighbors. laying on the couch passively observing your older sibling play video games. sitting at the kitchen counter watching tv. there’s a lot of idle time, observing, contemplating nothing or daydreaming about what else is out there. dreaming the undreamed. the undreamed technologies. suburban technologies for family software made from black hardware.

my typeface suburbia is just that — other times referred to as suburbia black, given the context — a celebration of life as a reflection of the past, of memories. nostalgic summers in the suburbs, ice cream dripping down a child's hand in the middle of a heatwave. I designed this typeface for my thesis book and video ultra-sound.

⟶ portrait at work [2022]
→ ↪ video
→ ↪ watch here

portrait at work reinterprets a collection of 1960s archival footage into a short film. the footage is of a middle-class italian immigrant family shoveling snow from their suburban neighborhood in Ohio. this footage is a select part of the same super-8 film collection assembled in my ultra-sound super-8 editors moving image installation for the MFA thesis exhibition.

the original footage is shot on super-8 film, then viewed frame-by-frame, as I manually roll through the film on a super-8 editor viewer. a literal translation of the moving image is dissected and remixed within the medium of the film reel. the beauty of movement cut and captured by each frame, each image, slowed down and appreciated as an impression upon a memory of the past.

at its core, this short of a portrait at work is an ode to the blinking eye, and the mechanisms mankind built in its like. the shutter that captures and recaptures a memory. it's a simple take on the moving image, paired with mica levi's Vanity, mimicking the impression of a trapped butterfly dancing against a window, beautiful yet mournful. so to is that nostalgia of the captured image, an imprisoned memory within a film strip, beating against the light of the projector, its only form of release.

⟶ letters of love and memory [2021]
→ ↪ printed by: jessica flemming
→ ↪ book cover design

Book cover design for Letters of Love and Memory by legendary Detroit poet, activist, and educator Aneb Kgositsile.

The publication is an anthology of some of the author’s favorite poems that reflect on the persistence of love and beauty throughout the African world.

The cover is a limited edition 4-color Risograph print. Riso printed by artist and designer Jessica Flemming. The cover is of the view from a spiritual prayer cave in Bahia, Brazil—the epicenter of Afro-Brazilian culture—photographed by Aneb. The front cover, a view of the cave’s entrance, the back cover, the view looking out from within the prayer cave.

[photo credit: jessica flemming]

→ this is a test to see if i can say my name. [2023]
→ ↪ publication
→ ↪ writing

this is a test to see if i can say my name. is my thesis publication that weaves creative work with a science fiction short story, ENTER/RETURN ultra-sound. I crafted this speculative fiction about the cul-desacs of "ultra-sound," a unique suburb where two distinct "Qults" coexist within the fabric of the New World Web (NWW or The Web).

The main narrative is an intricate interplay between the virtual and the tangible, where the once-separate realms of the internet and physical reality have converged. The focus of the narrative revolves around two distinct "Qults": "The Black Kids of Suburbia," led by the enigmatic Black Orion Aeon (BOA), and the "Cul-de-sac Girls," under the leadership of the charismatic Ariadne the Driver (Ari). Both cults inhabit “ultra-sound," positioned at the nexus between the austral and boreal hypersphere, a looping construct intricately connected by cul-de-sacs at either end.

this is a test to see if i can say my name. explores the intricate relationships between technology, society, and personal identity. The narrative questions the nature of reality in a world where the digital and physical coexist in an inseparable dance.

The phrase "this is a test to see if i can say my name." is a continual testing of my own identity and ability to articulate it in my practice. This phrase becomes a touchstone for my exploration of language, and the ways in which it both shapes and reflects our understanding of humanity. My practice, my work, is a continual test to see if I can say my name, “my name is Avery.” It is constantly seeking to understand my own positionality in relation to others and the world around us.

→ more real than myself [2022]
→ ↪ video performance
→ ↪ projection installation
→ ↪ watch here + writing

more real than myself is a semi-autobiographical extended reality experience that is a virtual video installation and performance that conceptually questions what we perceive to be the reality of our "individuality" or what makes "us"..."us."

In this piece, I question the existence of originality, reality vs. fiction, memory, uprooted identity, and individuality. When our world – what we see and make – is one huge spiral, a feedback loop of entangled past, present, and future. When everything is referential or rooted in the past that informs the present, which directs our future, I wonder where the individual lies within this?

When realized, this video installation performance is a virtual 3D model of myself made through Unreal Engine and Blender, interacting with my physical self in real-time. I am having a two-way dialogue that is partly based in personal narrative and partly based on Samuel Delany’s science fiction novel, Dhalgren, that is using an AI trained voice as my own voice in the live performance and video.

It appears as if both the virtual and physical self are learning from each other’s narrative in the process of exchange, unable to tell who's story belongs to who…maybe there's no difference between the two.

→ the bathhouse [2021]
→ ↪ collaborator(s): Amina Ross
→ ↪ publication
→ ↪ hand-lettering
→ ↪ poster design
→ ↪ website design + development
→ ↪ bathhouse.online + exhibition

Through a meticulously crafted assortment of flyers, a captivating publication, and an innovative website (bathhouse.online), this project embodies the ethos of sculptor Amina Ross and their eight thought exercises:

The bathhouse is safe.
The bathhouse is not secure.
The bathhouse is a space to be seen.
The bathhouse is not a place to be watched.
The bathhouse is sensual.
The bathhouse is not unspiritual.
The bathhouse is a space for meaningful work.
The bathhouse is not a workplace.
The bathhouse is a technology.
The bathhouse is not a machine.
The bathhouse is immersive.
The bathhouse is not without a body.
The bathhouse is sweating.
The bathhouse is not drained.
The bathhouse is gone.
The bathhouse is not over.

The collection of flyers with custom hand lettering, harkens back to the era of queer rave flyers from the 90s, beckoning to underground spaces that have historically provided solace for marginalized communities.

These flyers aren't merely static images; they bear the weight of human touch. Each one, Riso printed and then subjected to intentional destruction by hand, serves as a testimony to the ephemeral nature of community, much like flyers left to the elements. Beginning with pristine flyers, it gradually immerses the reader into the narrative of degradation, where successive flyers bear the marks of deterioration. This tangible textural experience leafing through the publication mirrors the passage of time and the evolving state of weathered outdoor flyers. The static archive becomes an engaging material and sensorial experience.

⟶ oscillations, colored. [2023]
→ ↪ performance
→ ↪ watch here + performance score

Arrange yourself, then arrange the other, then let the other arrange you, then let the system arrange itself within the environment's arrangement. Arrangement, organization, cause and effect, arrange, then rearrange.

Are we truly at the center of our own story? Am I in control of my own language and legibility or is the other, the system, the environment?

The self versus the other versus the environment. We are never at the center, but neither is anything else. All connected at the periphery of an-other’s positionality and perspective, there is no sole origin, only origin and end-origin – one-and-the-same. I am, as you are, as we are, in constant juxtaposition to the center, to ourselves. The positive feedback loop of a spiral that surrounds us and makes us who we are that rhizomatically stems outward and inward, a reflection of ourselves that is ultimately a mirror of the other, at once suspended in unfixed metalogic.

Create division & union by way of color, as a collective, as an individual, controlled by the other, controlling an-other.

In an exploration of body, space, and time, oscillations, colored. was a performance based on the 1956 Montgomery bus boycott. The participant at the front of the seating arrangement would place everyone in the seating arrangement across from them, and then the passengers would all turn around and the passenger at the very back would then become the front conductor in charge of arranging the others, again. Only those participating were aware of the rules of arrangement, onlookers unaware of the inner systemic hierarchy at play between the conductor and the passengers at the conductor's will.

→ twist [2022]
→ ↪ video + audio installation
→ ↪ mixed media → iron + hair + soil + worms
→ ↪ watch here + writing + exhibition

Is it the path things take that lead us to the right path? What is the right path? Do you twist and turn to get there, submerged in dirt you find yourself, is that me? Twist, the path things take, employs the canvas of nature to probe the intricate question of Blackness—an identity shaped by a non-origin, a name and roots forcibly stripped away. This powerful metaphor likens the experience to the uprooting of a tree, seeking solid ground, seeking foundation, seeking origin. We're forcibly introduced into a society and culture, untethered from our roots, our past. This profound rebirth, layered with societal rejection and an absence of ancestral knowledge, breeds a process of adaptation and survival.

This metamorphosis—born from the crucible of destruction—begets a new realm of language and relationships. Just as the earthworm burrows, regenerates, and thrives, so do we. We become the embodiment of resilience, navigating the environment we inhabit. And as the earthworm tills the soil and fosters new growth, we too foster new forms of connection and emergence from the ruins of our past histories.

The narrative of Twist transcends linear storytelling, delving into the depths of identity, adaptation, and survival. By harnessing the symbolism of nature, the video encapsulates the intertwined essence of struggle and triumph, decay and renewal.

→ the path things take [2022]
→ ↪ web design
→ ↪ video
→ ↪ watch here + prototype + preview

the path things take unveils itself as a prelude, setting the stage for a thought-provoking exploration of interconnectedness and the ever-circling nature of origins. This web design lays the foundation for the subsequent narrative, Twist or Twist, the path things take, inviting viewers into a realm where the beginning and end are intertwined in an eternal loop.

The video-walkthrough of the website begins with a clip from the TV mini-series Station Eleven, a snippet that contemplates the enigmatic relationship between origins and their final destinations, suggesting an infinite cyclical pattern, the seamless continuity that underpins existence.

The website harnesses Wikipedia’s API to pull the first eight links from the wiki page searched by the user on the site.The links form the lines of the asterisk in Black space, and when a user clicks on one of these asterisk link lines, a new dimension unfurls—the viewer is ushered to the next link in a cascading progression. This dynamic structure eloquently mirrors the very essence of knowledge, each click propelling the viewer into an ever-expanding realm of information.

E.g., user searches “life,” API pulls links from "life" wiki page, user clicks on a link from this page, e.g. the "physical entities" link, next set of links from the "physical entities" wiki page load, etc.

The website's functionality along with the asterisk's visual symbol becomes a testament to the intrinsic interdependence of our collective knowledge and language. No knowledge exists in isolation but rather as a tapestry woven from the threads of countless interlocking thoughts and philosophies.

⟶ khalik allah [2022]
→ ↪ poster design
→ ↪ 3D animation
→ ↪ watch here

Khalik Allah is an American filmmaker and photographer. I was commissioned by the yale school of art to design a poster announcement for allah's artist talk, part of yale's photo lecture series.

Allah's work has been described as "street opera" simultaneously visceral, hauntingly beautiful and penetrative. Exuding real and raw emotion through the spotlit facial expressions of the people he depicts in his photography, I decided to design a 3D character that physically/digitally embodied that raw emotion often depicted in the eyes of his human subjects.

photographing ordinary people under the electric blue glow of bodega awnings in the Harlem night, i alluded to the glowing black skin that radiates in the night's neon lights by giving my female animation glittering skin that changes colors while walking beneath the strobing colors of passing lights.

⟶ black melt [2022]
→ ↪ typeface design
→ ↪ tin metal

I melted and formed an alphabet out of tin metal and paired them with my own Black body. What does it mean for the Black body to be the metal? Are we the metal before the machine?

I've been thinking about the phrases "Black hardware" and "the metal before the machine." The kind of hardware made out of metal, the kind of metal before the machine. Black metal. Hands, feet, arms, back, legs, black bodies, the kind that produces and reproduces. That kind of Black metal that bends over backwards.

“Black hardware” and “Black metal” connect with my physical presence and evolving identity, which feel out of place and marginalized in the suburbs. Black Melt is “That kind of Black metal that bends over backwards” is the physical and emotional labor that Black bodies often have to perform in order to survive and thrive in a society that is not always welcoming or accepting of them, but reliant on them.

also thinking of the juxtaposition of black bodies and the metal that makes machines, and how we were supposed to be the perfect cyborg or robot or zombie following every order, never sleeping, always laboring.

⟶ malcolm peacock [2022]
→ ↪ poster design
→ ↪ braided hair text + garment installation
→ ↪ view here

Malcolm Peacock is a young, Black, multidisciplinary performance artist whose practice examines emotional and psychic spaces of Black subjects. Peacock is particularly interested in the intricacies of intimacy.

i was commissioned by photographer davion alston to design Malcolm Peacock's visiting artist lecture announcement poster for the yale school of art photography lecture series.

this poster design and installation was inspired from Peacock's use of synthetic braiding hair in a number of his artworks and performance pieces, including For more than roses and notches in our belts and i had a long obituary, where he lay in a makeshift bed of Kanekalon synthetic hair extensions, commonly used for hair braiding in the black community. using this same exact material, I knit a wearable garment out of Kanekalon braiding hair extensions. this garment was then used as the focal image in the poster design. For the poster design I photographed Davion Alston from behind, wearing my knitted hair garment creation with both hands wrapped around the garment, gently gripping its intricate texture in an intimate embrace.

this same garment I re-use in my video, Twist, as a braided garment from which worms emerge and submerge from, weaving in and out from its looped knots.

in addition to the garment and poster, there is also a braided text installation that accompanies them on the wall space. I hand-pinned braids into the wall next to the poster design, announcing the information for the artist lecture. each letter is made from a culmination of individual braids — the artist name made from Twisted Kinky Hair Synthetic Crochet Braiding Hair Extensions and the above information made from individual crochet box braid pre-looped hair extensions.

currently, i am designing a digital typeface based on this physically rendered, hand-lettered braiding-hair-text-installation, titled Twist. in reference to my video piece of the same name, in which these braids reappear along with the knitted braiding hair garment.

→ swing [2023]
→ ↪ collaborator(s): Gabriela Rassi, Sophie Kyle Collins, Yuseon Park
→ ↪ video performance
→ ↪ projection installation
→ ↪ watch here + yuseon's magnetic film

Exploring themes of location, boundaries, projection, and freedom, I along with my collaborators — Gabriela Rassi, Sophie Kyle Collins, Yuseon Park — installed an edited and elongated looping version of Yuseon’s video Magnetic Film, on a swing and performed with this literal "moving image."

The video Magnetic Film is a series of physical signatures of cassette recordings, translated into visuals through coding glitches, pixel sorting, and data moshing. This visual transition was inspired from dragging an old movie file to a new desktop; the pixels of the movie screen were broken. So glitches, pixel sorting, and data moshing are the transitions between time and scale that evoke hierarchical or unequal relationships when experiencing "the old" in a new way.

swing responds to that feeling of the past being released and liberated from static memory. The release of the physical boundaries of a screen or projector or visual. The boundary of a free-flying swing, which is the radius of perceived space, is a kind of liberation from the physicality of the swingers. And the film itself is a liberation of pixels from the screen.

But, through this installation performance there are still realized physical limitations of "freedom," both in relation to our bodies as the video could only fly off the walls and onto the floor within the limitations of the swing’s circular trajectory.

[photo credit: yuseon park]

→ man’s country B.C.— A.D. [2022]
→ ↪ typeface design
→ ↪ hand-lettering

→ black beyond_origins [2022]
→ ↪ logotype design
→ ↪ hand-lettering
→ ↪ 3D
→ ↪ view here

black beyond is a multi-dimensional platform created to promote and uplift Black creatives and Black radical thought. It is a collection of programming that spans across sight, sound and world-building. black beyond is curated and was founded by Jaszalyn, a Black femme designer & creative technologist. I was brought on to the black beyond team for a custom 3D hand-lettered logotype for the origins online event.

black beyond_origins team: jazsalyn (design & creative), Livia Foldes (design), Tee (motion design), Shameekia Johnson, Ege Uz, Gabe Deko, Kevin Cadena, sammie veeler, Avery Youngblood (design)

⟶ sonic rupture [2020]
→ ↪ collaborator(s): amina ross
→ ↪ motion graphics animation
→ ↪ watch here

Sonic Rupture/ songs for(e) the swarm is a video and sound installation by sculptor amina ross. Ross commissioned a motion graphics design for their installation, and we collaborated on incorporating their writing and reading references into that animation.

the design itself is composed of custom icons, and rings of text inspired from weather patterns and technical illustrations of seismic earthquake waves, reminiscent of a map.

⟶ 1Q84 [2019]
→ ↪ book cover design

book cover re-design of 1Q84, a mesmerizing surrealist novel by Haruki Murakami about two individuals living between two parallel universes with two moons.

⟶ cheyenne [2019]
→ ↪ artist: conner youngblood
→ ↪ album design
→ ↪ visual identity
→ ↪ view here + listen here

collaborated with musician conner youngblood on his debut album cheyenne. album design and visual identity, including singles birds of finland, pizza body, and los angeles.

⟶ illness as metaphor [2019]
→ ↪ zine publication
→ ↪ poster series design

a zine that dismantles misconceptions, shatters stigma, and redefines the discourse surrounding mental illness. Within these pages, I look at the history, societal perceptions, and personal experiences that converge to legitimize mental illness in public discourse.

This zine serves to spotlight the intricate association between mental illness and its history of fetishization, gendered discrimination, and societal alienation. It’s an attempt to unveil the truth behind misunderstood diagnoses that have often been brushed aside as unreal or exaggerated by those who grapple with them.

The zine's pages are woven with the voices of four distinct narratives, each resonating in dialogue with the others. Through these carefully selected excerpts, insights emerge: Illness as Metaphor by Susan Sontag, Life with Lyme by Meghan O’Rourke, Excerpts from the Diary of Alice James, My Lobotomy: Howard Dully's Journey from All Things Considered. The zine weaves these narratives in an act of reclamation, turning the spotlight onto the voices that have been marginalized for far too long.

→ Zombie [2021]
→ ↪ performed by: Arden Youngblood
→ ↪ video
→ ↪ watch here + writing

“When you will have made them a body without organs, then you will have delivered them from all their automatic reactions and restored them to their true freedom.”
- Antonin Artaud

What does it mean to start from Blackness? Starting from Blackness is to embark on a journey that defies conventional constraints. It's a paradoxical space where time both expands and collapses, leaving one exposed and vulnerable, yet intensely focused. Blackness serves as a lens that refracts truth, heightening perceptions and unveiling dimensions that are often felt but not seen. In this way, Blackness becomes a potent instrument of revelation.

The endeavor to capture these intangible aspects of Blackness, is an effort to amplify awareness. By elevating the viewer's senses, we aim to reveal the myriad ways in which Blackness manifests. It's an unseen force that envelops and permeates, simultaneously invisible and omnipresent. This paradoxical nature adds to the boundless essence of Blackness, a concept that inherently defies confinement.

Zombie is a short film, featuring my sister as the central protagonist. Drawing on the original Haitian concept of a zombie — an entity suspended between life and death with a soul caught in a state of limbo — the narrative draws parallels to the Black body's experience. The Black body navigates a space between worlds. It grapples with the tension of identity, the constant negotiation between belonging and exclusion. By juxtaposing the concept of a zombie with the duality inherent in the Black body's experience, the film serves as a mirror reflecting the contradictions that shape and define identity.

⟶ speech sounds [2021]
→ ↪ publication
→ ↪ exhibition

speech sounds is deconstructed book that offers readers the opportunity to forge their own narrative paths, paralleling the dismantled society depicted in Octavia Butler's science fiction masterpiece of the same name. Rooted in the foundational text of Octavia Butler's Speech Sounds, this project emerges as an intricate amalgamation of narratives, converging three pivotal texts - Speech Sounds itself, After Words by Nikita Gale, and a thought-provoking interview with Octavia Butler and Samuel Delany.

The text is accompanied by the inclusion of evocative stills from Ousmane Sembène's La Noire De (Black Girl) and Dawoud Bey's poignant photo series Night Coming Tenderly, Black. These carefully chosen images serve as a visual chorus, further enriching the conversation woven throughout the deconstructed book.

The collage of text, image, and filmic references operates as a symphony of perspectives, all converging to explore themes deeply rooted in race, language, and the decolonization of identity. Octavia Butler's exploration of language's transformation and deterioration underlines this narrative journey, mirroring the destruction and erosion of language through colonization and slavery. Yet, from the ruins of linguistic upheaval emerges the possibility of something anew.

speech sounds pays homage to histories lost, cultures eroded, and identities reshaped, all while illuminating the potential for resilience and the birth of novel relationships. In a masterful interplay of words, images, and philosophies, speech sounds is an invitation to ponder the profound ways in which society survives and regenerates.

[photo credit: emily barresi]

⟶ brought it home: a continuum [2021]
→ ↪ collaborator(s): alvin ashiatey
→ ↪ website design + development
→ ↪ brought-it-home.org

exhibition website design and development in collaboration with alvin ashiatey for Black MFA art show at Yale's Afro American Cultural Center (aka The House)Brought it Home: A Continuum.

As a celebration of the Center’s rich history in the Yale and New Haven community, the Yale School of Art presents Brought it Home: A Continuum. This Black History Month art show, presented by Yale School of Art MFA Students, was installed throughout the Afro-American Cultural Center during Black History Month. This multidisciplinary programming is a nod to the Center’s role as a nexus of vibrant collaboration.

Through cross-disciplinary collaboration and experimentation, MFA students will work to create a multimedia art experience open to the School of Art and wider Yale community. By documenting this exhibition through a website, this show will serve as a guide to future students interested in collaborating, not only with other School of Art students, but with other centers and departments around the school.

Alvin Ashiatey and I designed and built the website for the show. Kathryn-Kay Johnson and Kyle Richardson designed the identity. Ashley Teamer and Chinaedu Nwadibia organized and curated the show. Sarah Elawad and David Jon Walker designed the merch.

⟶ black collar worker [2019]
→ ↪ apparel design

The bucket hat was popularized by Black Hip-Hop bigwigs, no surprises there. If we think of Hip-Hop as a major movement of creative Black labor in the United States, then we can think of the bucket hat as part of the uniform of “black collar” labor. The human as Black, the subject as Hip-Hop, the object, as hat, references a form of primarily Black labor.

While "blue collar" and "white collar" are more common terms referring to manual and professional work, respectively, the idea of "black collar" labor could suggest a creative and culturally rooted form of work and expression, which hip-hop indeed embodies, "built" on the experiences, struggles, and creativity of Black individuals and communities.

⟶ we need to talk [2020]
→ ↪ collaborator(s): alvin ashiatey
→ ↪ website design + development
→ ↪ we-need-to-talk.app

a space for further conversation about design and art among BIPOC artists and designers. this site is a work-in-progress and collaboration between me and my colleague, Alvin Ashiatey, where we interview BIPOC creatives on their practice.