[W]hole is an unapologetic reclamation of my artistic voice and a protest against the psychic wounds inflicted by colonialism, colorism, and capitalism. This 8 x 10.5 x 4 ft wooden structure, shaped like a trifold mirror or room divider, surrounds the viewer—forcing intimate engagement with its scars and sutures.

Constructed from six angled black panels, the installation layers brown paper bags, cardboard, and Band-Aids—materials charged with references to the Brown Paper Bag Test, the commodification of Black bodies, and the erasure of Black skin in everyday objects. Covering these surfaces with black paint is my act of defiance and reclamation.

Each panel bears raw marks—holes, stitches, scratches—echoing my own anger, pain, and attempts at healing. The figure is absent but embodied through these wounds: some roughly closed, others left open, needles hanging, Band-Aids futile. [W]hole speaks to the fractures in Black identity and the struggle toward wholeness, making visible what racism insists on hiding.