My work plays with nuance at the intersection of memory, photography, and embodiment. My practice investigates the quiet spaces between presence and absence — where intimacy is not just seen, but felt through the skin.

The i In (I)nfra-Thin is a deeply personal body of work that began as my MFA thesis and evolved into a living archive. Rooted in my Jamaican West Indian and American heritage, this work navigates the liminal spaces between family and stranger, between inherited memory and lived experience.

Using digital photography and performance, I create portraits with strangers — not to capture beauty, but to touch something intangible. These encounters become surrogate moments of recognition, rituals of tenderness, and expressions of longing. Through these images, I examine skin as a sensor, a boundary, and a memory-holder.

The title draws from Marcel Duchamp’s concept of the “infrathin” — a term for immeasurable difference, the trace left behind after contact. This concept guides my exploration of how memory transfers between bodies, how absence can be embodied, and how warmth lingers even after someone has gone.

My work challenges what it means to see, to hold, and to remember. It asks: Can the body become the photograph? Can the image hold what we cannot say? And ultimately — can my own blood, my own warmth, my presence be enough to transfer something meaningful into the world?