Lore: The Origin of Shame

This month, my work Lore is on view at Norwest Gallery of Art in Detroit as part of the Bare My Soul exhibition. The show itself is about vulnerability, truth, and stripping away the layers we hide behind. For me, that meant returning to one of the earliest stories I was taught as a child growing up in a Christian household: the story of Adam and Eve.

In Lore, I reimagine that ancient narrative through my own lens as a Black woman and an artist exploring vulnerability. At the center of the piece is a great tree, standing tall and radiant, the Tree of Life. Its branches hold bright oranges, ripe with possibility, temptation, and consequence. Eve cradles Adam while a serpent lingers in the scene, waiting for its moment to disrupt everything.

I chose this story because it’s one of the earliest origin points for shame, the moment humanity became “aware” of their nakedness. Nudity became linked with guilt, modesty, and silence. Growing up in the church, I internalized these stories in ways that shaped how I experienced my own body and vulnerability.

By revisiting this narrative through collage, I wanted to strip it down to its core and confront the shame that has trickled through generations. In making Lore, I asked myself: What happens when we bare ourselves fully, without fear? What if vulnerability is not sin, but power?

Lore is both a return and a reimagining. It’s a way of reclaiming a story I was taught to fear, and instead using it as a mirror for my own growth, vulnerability, and healing.

Through the Lens: Shooting for the 50/50 Women’s Photography Exhibition

Some projects feel like assignments. Others feel kismet.

When I was invited to take part in the 50/50 Women’s Photography Exhibition at Doubting Thomas Gallery, I knew it was going to be more than just about portraits. The concept was brilliant: pair women photographers together, one over 50, one under 50, and let them collaborate. Not just a photoshoot, but a dialogue across generations, a merging of perspectives through the lens.

I was paired with Cynthia, which felt less like a surprise and more like a blessing. We already knew each other from moving through the Cleveland art scene exhibits, openings, and conversations that bloom in community spaces. There’s a comfort that comes with collaborating with someone you already trust, and I knew that comfort would translate into the work.

We met briefly at her home first, a short visit because I had a family commitment. But even in that limited time, I felt the essence of her space. Her home radiated a spirit that was so Cynthia. I told her immediately, “We need to shoot here. This is where you live, breathe, and create it’s authentically you.” And she agreed.

For my side of the shoot, Cynthia insisted on something just as authentic: nature. She knew how much I love the earth, how I see myself as an “earth queen,” and she wanted to place me in that element. She found the perfect places: Sulfur Springs, a hidden waterfall, and Henry Churchill Rock. Each location felt like stepping into a dreamscape. At the springs, I dipped into the water, feeling the current wrap around me, feeling completely in my element. Water has always been healing for me, and it became more than a backdrop; it was part of the portrait itself.

The results? Pure alchemy. Cynthia captured me in my truest element, and I captured her in hers. Two women, two spaces, two visions, and yet one shared story of authenticity, artistry, and womanhood.

The images turned out better than I could have imagined. There’s something magical about trusting another woman to see you as you are and reflect that through her lens. That’s what this exhibition is about, not just photographs, but dialogue, trust, and transformation.

✨ The 50/50 Women’s Photography Exhibition is still open at Doubting Thomas Gallery. Make sure to see it before it closes. These portraits aren’t just pictures; they’re conversations. 🌸