EL03→ Digitals, Graphic, Film, Etc.
EL03→ Digitals
When I made this piece, I wanted to mess with something we all know by heart, the Pledge of Allegiance. I typed it out exactly as it’s recited and edited it in such a way that the computer flagged every single word as wrong.
Even the very first letter, “I,” showed up with that red squiggly underline. The letter “I” is a mistake, what does that say about the rest of the promise? The error marks say more than the words themselves. We repeat the pledge like it’s perfect, like it holds everyone together, but the system’s own spellcheck won’t even validate it. The whole thing is an error.
That little flag at the bottom seals the deal. It feels like a stamp on something broken. The pledge talks about liberty and justice for all, but I see it as a pattern of error, words we keep reciting even though they’ve never really added up.
I turned the chessboard into something more than just a game. Instead of the usual center line, its replaced with the border between Haiti and the Dominican Republic.
The idea was to take the center line that we’re always taught to fight for in chess and replace it with something real and full of history. Now when you look at the board, it’s not just about black and white pieces, it’s about a real-world border and the stories it holds.
For me, this piece is a way to talk about how spaces and territories are claimed and controlled. This chessboard isn’t just a game, it’s a reflection of real conflicts and the ways people and places are divided. By making chess cartographic, I point out how arbitrary and high-stakes these divisions can be.
This work reimagines what BET might look like if its current white ownership (Paramount) leaned openly into that fact, programming the black network through the lens of whiteness.
It’s a critique of popular media culture, where “normal” almost always defaults to white and everything else is treated as alternative, the very reason BET had to exist in the first place. The piece pulls from images like the “Shirley Card”, once used to calibrate color photography inspite of the black existence. Other White Americana references were added to lean into that culture. W.E.T. underlines how media has long been standardized around whiteness.
"Semantic Satiation" c.2020
Semantic Satiation takes the signature of the current Commander-in-Chief and repeats it until it becomes a kind of visual noise. Like the linguistic concept itself, where a word said too many times loses meaning, the name dissolves into pattern.
I built it into a landscape that suggests a Klansman’s rally, pointing out how this figure’s name isn’t just a name anymore, but a noise that signals to a certain group.
“UberColor“ c.19
Uber color imagines what Uber might've looked like if it had to deal with the ridiculousness of late 1800s to late 1900s segregation practices. Imagine sepia-toned maps where certain neighborhoods are no-go zones, and you need a "special pass" just to get a ride across town. It's like a twisted game where access is a privilege and not our right.
This project pokes fun at how technology could've been used to reinforce those absurd rules. It's a satircal way to highlight how exclusion could be just an app’s feature away, even today.
"Memento Mori" c.22
In this piece, I took an image where the original message painted was "Bonne Année" (Happy New Year) and changed it to "Memento Mori" (Remember You Must Die). This switch turns a seemingly harmless but cruel message into a reminder that everyone shares the same fate. I did this to reclaim their narrative and give a voice back to those men who were dehumanized.
It's about showing that no matter the suffering inflicted, we all end up in the same place. It’s a way to honor those who suffered while reminding those who caused harm that they too are not above the ultimate truth of mortality.
I've had the privilege of directing visual narratives for Quadry's albums like "They Think We Ghetto," "Malik Ruff," and "Asking Magnolia." My role is to bring his vision to life, turning each project into a rich, cohesive story that resonates deeply with his vision. I highlight his message through creative direction, making sure every element aligns with his artistic intent and identity in the moment.
More of Quadry Here
EL03→ Film
This piece puts all my worlds in one frame. Growing up Haitian in Miami, gold culture, anime, viral videos from the early 2000s, and the Miami dance scene among other subjects. It mixes a regionally specific history with the internet, Black spectacles. pride within chaos. Nothing here stands alone, it’s all collaged together and becomes the continuum I come from.
Watch Here
“IBrooks” c.22
IBrooks reimagines those haunting diagrams of the Brooks slave ship, but instead of bodies stacked in the hold, it's streams of binary code.
This film highlights a new form of reduction. Where people, who were once seen as property, are now similarly reduced to “data”. It’s a reflection on how habits, cultures and identities can be commodified in the digital age, showing a new kind of control and surveillance.
You can view this piece on PAMM TV
“Figi Nwa” c.16
This was one of my first performance pieces. It began as an exploration of masking. Me covering my face with white paint without any racial motives or character behind it. I wanted to see what it meant to put a mask on; to shift presence by changing the surface of the face.
But intention and context are seldom separate. Even though I wasn’t trying to make it about race, history made sure it was. A Black body with a white-painted face carries layers of meaning; colonialism, erasure, minstrelsy, the long “Tango” of Black presence and disguises. The piece taught me that once the act is out in the world, people’s readings are part of the work too.
Watch HERE
“Bibliohecatomb“ c.22
This film was made to show the details of Ultra Permanent that people wouldn’t catch on Instagram or online. The purpose wasn’t to re-explain the work, but to let viewers see the textures, layers, and small choices that get lost in a feed.
The film is titled BiblioHecatomb, a word I coined during my writings. It reflects the sense that I’m sacrificing books. Not destroying them, but transforming them for a different purpose. Giving their pages and structures a new life in my work.
It was important to me that the film slowed things down, giving people a closer look at how the writings actually live off the screen.
Watch HERE
Ed Libris 2025 Miami,FL