Doctoral Candidate · English Literature and Cultural Studies, University of Washington, Seattle, WA, 2018- Present. Focus: Contemporary Black Speculative Fiction and Visual Arts 
MA · English, Literature and Cultural Studies, University of Hawaiʻi, Mānoa, Honolulu, HI 2017. Thesis: My Black Body Under the White Gaze: Hypervisibility in Sierra Faye’s “Comfort in the Undiscovered,” 2009, and Xaviera Simmons One Day and Back Then (seated), 2007. Thesis Advisor: Jack Taylor, PhD 
BA, summa cum laude · English, Literature, Tennessee State University, Nashville, TN 2013.
Research Interests
Black Studies, Black feminism, Queer Theory, Afrofuturism, Witchcraft, Black speculative visual and literary arts, Horror, Science fiction, Popular Culture, 20th century through contemporary 
 Awards and Fellowships
Humanities Without Walls National Predoctoral Career Diversity Summer Workshop at University of Michigan, 2022
Curator Fellow at Museum of History & Industry (MOHAI), 2022
Jacob Lawrence Gallery’s BIPOC Graduate Student Curatorial Fellowship, University of Washington, 2021
Black Opportunity Fund at University of Washington for The Chorus, 2021 & 2022
EWP’s Diversity, Equity, and Inclusion Collaboration Grant for The Chorus, 2020
Mellon Collaborative Summer Fellowship for Public Projects in Humanities, Simpson Center for the Humanities. 2020
Curatorial Projects and Art Shows 
Curator for Queer Imagination: Ecstatic Worldbuilding at The Jacob Lawrence Gallery, Seattle. June-July 2021. Designed an exhibition with artist-scholars on their worldbuilding practices to show how art influences scholarly work. Hosted conversations about the meaning of ecstatic as the transcendence of materiality. Collaborated with artists across Pacific Northwest and UW. Designing gallery layout. Managed events accompanying the exhibition.  
Co-Founder of The Chorus: Artistic Responses as Academic Discourse, Seattle, WA. May 2021 (ongoing).  Launch, produce and edit a video-based educational and artistic workshop series. Network with cultural studies graduate students and instructors. Lead discussions on critical cultural works and artistic responses to these works  
Curator and Presenting Artist for Juneteenth Art Show at The Beans Gallery, Chicago. June 2018. Developed an art and performance show to critical thinks about “freedom” in contemporary methods of racial capitalism. Selected and Gather with local artists, poets, comedians, and musicians to decide pieces that will contribute to the show’s theme. Spearheaded main events and other discussion-based events surrounding the show. Designed the layout of the gallery and run of the performance.
Co-Curator and Presenting Artist for Amethyst Art Show at The Beans Gallery, Chicago, February 2018. Collaborated with collogues to create an art and performance show that thinks about healing within colonial societies. Networked with local artist and performers in Chicago area. Spearheaded the main event through scheduling the show, designing layout of gallery, and promoting the artwork and event. Managed artist contracts, legal fees, and equipment
Administrative Experience 
Artist Fellowship Program Coordinator at Henry Art Gallery, June 2021-June 2022. Developed programs to facilitate community, scholarly, and artistic gathering–– Ritual: Form and Function for Graduate students and other roundtable discussions and programs.   
Expository Writing Program Assistant Director at University of Washington, Seattle, August 2019- June 2021. Scheduled and coordinated time-sensitive meetings and workshops for students and instructors. Trained incoming multimodal and expository writing instructors. Served on the Diversity, Equity, and Inclusion grant committee, aiding in decisions on allocating funds. Developed and delivered strategies for anti-racist teaching, creative teaching, and multimodal teaching.
Research Assistant to Professor Laura Chrisman at University of Washington, Seattle, September 2018- May 2020. Documented and organized photographs, letters, and materials from the early stages of The Black Scholar. Updated and maintained Dr. Chrisman’s materials via Endnotes, Microsoft products, and Google Drive. Collaborated with Dr. Chrisman to bring Dr. Frank Wilderson, III to UW for a lecture.  
Gallery Manager at The Beans Gallery, Chicago, IL, June 2017- July 2018. Designed layout of gallery for local artists, musicians, writers, and craft-makers. Managed art sales and customer & artist relations. Spearheaded 15 community-centered art shows and community events. Connected artists, lecturers, and activists based on artistic and thematic interests. Managed a calendar, contracts, invoices, and other paperwork to keep track of artwork and events. Created newsletters, flyers and photographs to promote events and artworks using Microsoft and Adobe suite (Ps and Ai)
Teaching Experience 
Seattle Central College
Fall 2021, Instructor, English 101: English Composition (2 sections). Designed a 10-week course on the basics of writing, research, and compositions. Taught skills of close reading, different forms of textual analysis, argumentation, and source credibility. Emphasized experimenting with writing styles.
University of Washington
Spring 2022,  Instructor, English 281: Intermediate Expository Writing (1 sections). Designed a 10-week course that build on the basics of the study of writing, research, and textual analysis. Taught skills of intertextuality, genre and modes, close reading, and argumentation. Focused on comedy writing techniques.
Winter 2022, Instructor, English 381: Advance Expository Writing (1 sections). Designed a 10-week course that advanced the study of writing, research, and textual analysis.
Spring 2021, Teaching Assistant, English 202: Introduction to English, Literary Studies (2 sections).  Led two discussion sessions of 20 students on introductory elements of literary criticism, such as new criticism, Marxism, and deconstruction. Developed weekly prompts to aid students in their comprehensions of the lessons. Co-developed rubric and feedback criteria for student assignments. 
Fall 2020, English 131: Composition: Exposition (2 sections). Created a 10-week course that teaches the fundamentals of claim-based composition to first year students. Taught skills of close reading, analysis, and research. Emphasized experimental writing in response to Black arts and literature.
Winter 2019, English 110: Stretched Introductory Composition (1 section). Developed a 10-week course to walk first-year studies through the process of creating research-based projects. Taught composition forms and strategies for developing elaborate projects. Encouraged project that were multimodal and aligned with cultural studies. Emphasized composition styles of art writers and reviewers.
“You Cannot See Me: A Brief Visual Analysis of Sierra Faye’s ‘Comfort in the Undiscovered.” Outlier Chapbook. Hawai‘i Review 88. 2017. 1-7.
“The Very Real Effects of an Illusionary Circuit System: Using Toni Morrison’s The Bluest Eye to Contemplate Black Existence with White Supremacy.” National Foreign Language Resource Center: Celebrating Voices-- Past, Present, Future. 2016. 26-29
Art Writing
Remove What the Body Can’t Hold: Visual Analysis of Wangechi Mutu’s All the Way Up, All the Way Out (2012),” A Year in Black Art. Black Embodiments Studios. V.4. 2021. 10-11.
“Black Life Exploited for White Lies: Ilana Harris-Babou’s Long Con at Jacob Lawrence Gallery,” Variable West. 2021
“Ojih Odutola’s Birmingham (2014)” A Year in Black Art. Black Embodiments Studios. V.3. 2020. 11-15.
“On Nadia Huggins’s Circa No Future.” MFON exhibition catalog. Ed. Berette Macaulay. 2020.
“Memories Within Reach: on Ebony G. Patterson.” In Plain Sight: A Collection of Response from the University of Washington Community. Henry Arts Gallery. 2020.
“Rethinking ‘Knowledge’ with Edgar Arceneaux’s Library of Black Lies (2016).” A Year In Black Art. Black Embodiments Studios. V.2. 2019. 3-5.
"Art Reflection and Writing Workshop with Brittney Frantece,” Henry Art Gallery for Plural Possibilities & the Female Body. April 2021
 “Contemporary Black Art,” Guest Lecturer. The Northwest School. Seattle, Wa. Spring 2019 & 2022
 “Bodily Alienation in Alison Saar's Cotton Eater (head), 2016 and Cotton Eater II, 2018.” Panelist, Panel: “Beyond Labour Power.” Red May. Seattle, Wa. 2019
“Flesh of the Moon: a Visual and Literary Analysis of Eve Ewing’s Electric Arches and Briana McCarthy’s ‘Garden of Lost Things.’ Panelist, Panel: Technically Black: An Examination of Black Bodies in Speculative Works.” English Department Annual Conference, University of Maryland, 2018.
“You Cannot See Me: Hypervisibility in Xaviera Simmons’s and Sierra Faye’s photographs.” Panelist, Panel: Women Talking Back: The Artist, the Student Writer, and the Memoirist. Conference on College Composition and Communication (CCCC), Portland, Or, 2017

Other Works

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