A Communion Rite re-configured elements of Euripides’s The Bacchae and Wole Soyinka’s A Communion Rite with contemporary publicly sourced images, this process opened up the narrative for representation for a more complex set of relationships.
Fly on the Wall, a mediation on being a disguised figure in cultural history, was born out of a concern that the decision to call one’s self black, when it is not physically apparent, is contemporarily cast as a moral issue rather than a matter of genetics of parentage.
The installation of the two portraits, The Pink Painting and Portrait Study of the Performance (Bausch) shown one at a time, within the mural depicts the dynamic cultivated by white imperialism. The first combination Diagram & Portrait Study of the Performance (Bausch) portrays an enduring response to provocation, intrusion and inspection. The Pink Portrait embodies a resistance to the obligation imposed on foreign individuals to explain their identity by focusing on society's need for this exposure.