Series

“Color Girl Series” is my first surrealism photoshoot and a rebellion against expectation. Through bold color and surreal framing, the work breaks the image people try to place on you and creates its own visual rules. The “color girl” refuses confinement — she becomes self-defined, rewriting how she is seen and who she is allowed to be.

The God I Made is a visual confession about the quiet addiction to “more” — more money, more praise, more proof, more becoming — until wanting turns into worship. The God I Made follows a figure crowned in shine yet chained to it, asking what happens when beauty becomes burden, success becomes appetite, and desire becomes something we kneel to.

“W E” began as a Halloween project and a visual reimagining inspired by Us by Jordan Peele. Instead of the film’s iconic red wardrobe, this series shifts into blue, changing the energy from blood and chaos to something colder, quieter, and more psychological.

“Finding Love” explores the human urge to chase love in others, only to discover that we are our own first home. The work moves through longing, illusion, reflection, and the slow return to self!

Tangled explores softness, protection, and growth through vivid color, layered texture, and the quiet beauty of what remains intact.

Remembering is a portrait series about womanhood as a slow shedding—peeling away old masks, inherited expectations, and survival layers. Through hair as crown and archive, the work explores trauma, memory, softness, and the quiet strength of sisterhood.

Pretty Hurts explores the cost of being admired — how “pretty” can invite pressure, projection, and touch. The pearls hold softness; the spikes hold boundary. Here, beauty becomes both armor and warning: delicate, but not defenseless. Admire, but don’t touch.

“Behind the Color” began while I was working behind the scenes on a Marvin Bowser hair photoshoot. Instead of focusing only on the finished image, I became drawn to the fragments — the in-between moments, the tools, the gestures, and the way color and light shaped memory. The series asks what people remember first: the face, or the colors and forms left behind.

The alligator look embodies the predator energy of corporate culture — the unspoken rules, the quiet venom. By stepping into it, the work transforms that pressure into power and rewrites what professionalism can be.