THE SPARK
When you think back to those early days in Jamaica and then in Tampa, what made you realize art was more than a hobby?
It’s always the moments when someone tells me that my art meant something to them. That feeling never gets old. Every time my work connects with someone in a real way, it reminds me that it’s doing more than just existing on a page or a wall. It’s reaching people. That’s when I know it’s bigger than a hobby for me.
As someone who didn’t receive formal art training, what have been the biggest moments of growth in your journey?
A lot of my growth has come from being humbled. There were so many things I had to teach myself along the way, whether that was learning new programs, adjusting how I present my work or refining my style after hearing hard feedback. I’ve had people say my art was too rough around the edges, and instead of letting that stop me, I used it to get better. Even with Cadillac, I was stepping into something new. I had never drawn a car before, and that experience opened me up in a whole new way creatively.
BIGGER STAGES
You became the first Black artist to create the US Open® theme art, and more recently created work for Cadillac in Miami. What does it mean to see your art wrapped around luxury vehicles, global sport and these historically elite stages?
It means everything to me. Opportunities like the US Open and Cadillac carry so much prestige, and as a young Black woman, those are the kinds of spaces you absolutely dream about, even if you’re not always sure how you’re going to get there. So to be trusted in those environments feels powerful. More than anything, I love the idea that someone else might see my work in those places and feel like there’s a path for them too. If I can be part of that example for the next generation, that means a lot.
Creating a mural had been on your aspiration list for some time. What did it mean to have Cadillac be the catalyst for your first and largest mural to date?
It felt monumental. I had already built a relationship with the brand, but I still didn’t expect that call when it came. I was literally packing for another trip, and suddenly I was stepping into this opportunity that felt so much bigger than me. The scale of it, the visibility of it, the fact that it was my first mural and my biggest one yet—all of that made it feel incredibly meaningful. It was one of those moments that lands in your lap before you’ve even had time to fully imagine it for yourself.
MIAMI, IN MOTION
During Miami Grand Prix weekend, you created three distinct mural pieces for Cadillac. What inspired each one?
The first piece was really about flow state and fluidity of motion, that feeling of momentum and the force that keeps you going. A lot of that came from my own experience spending hours sitting in the LYRIQ outside my kids’ school, just drawing and staying locked in. I kept thinking about movement, energy and what it feels like to stay in that creative zone, and that naturally shaped the piece. I loved that it also carried just a subtle nod to Miami.
The second piece leaned much more into Miami itself. To me, it reflected how layered and inclusive the city feels, especially during a weekend like that when sport, culture and people are all colliding in one place. I loved the way it outlined the track and how it echoed some of the layering I had explored in earlier work. It felt very connected to the energy of the moment.
The final piece was a real pivot, but in the best way. Earlier in my art career, I used to draw mountainscapes and landscapes, so that piece felt like a return to something foundational for me. It felt nostalgic. It felt serene. And because of that softness and sleekness, it paired so naturally with CELESTIQ. That one felt especially personal.
How did your past experience in the LYRIQ, combined with the pace of the weekend influence your creative flow?
The LYRIQ honestly gave me a place to create. I spent hours in it sketching and working because everything I needed was right there. I knew if I got out, I’d probably get distracted, so I just stayed in that space and kept going. It became part of my process, and that feeling absolutely carried into the work I was making in Miami.
