It's just a fish…a frivolous fish. . .la la la . . .

This animation explores the painting process. A break from heavier topics.

This animation shows the proliferation of prisons in america between 1784 and 2005. We were drawing attention to the incarceral state ushered in by the 1994 crime bill, mandatory sentences, and a series of laws and attitudes which used incarceration as a means of oppression based on class and race. Whether on purpose or as an unintended consequence the effects are extensive and awful.

This is a slave population density map of the southern US at a moment in time. We found it interesting how many places far exceeded 50% slave even to the extent of 90% slave. Just an interesting fact to ponder. The animation was to subtly draw attention to the fact and it was often displayed next to a reproduction of the original map.

Paul Rucker and I created a traveling multi-media audio visual show focused several social justice issues. We focused on mass incarceration, police violence, racial justice, historical artifacts and ephemera. For the animations, we combined my animations with his musical compositions. Images on confederate money demonstrate the ubiquitous unquestioned acceptance of slavery in southern culture.

Lynching postcards were a gruesome common merchandise sold at lynchings, which were far too often community celebrations attended by families. The postcards were eventually banned by the USPS in the mid 20th century.
We were drawing conceptual connections between lynchings and police killings of black men. Funding came from from Creative Capital, Rauschenberg Foundation, the MAP Fund, and the Guggenheim Foundation.

Lynching postcards were a gruesome common merchandise sold at lynchings, which were far too often community celebrations attended by families. The postcards were eventually banned by the USPS in the mid 20th century.
We were drawing conceptual connections between lynchings and police killings of black men. Funding came from from Creative Capital, Rauschenberg Foundation, the MAP Fund, and the Guggenheim Foundation.

Lynching postcards were a gruesome common merchandise sold at lynchings, which were far too often community celebrations attended by families. The postcards were eventually banned by the USPS in the mid 20th century.
We were drawing conceptual connections between lynchings and police killings of black men. Funding came from from Creative Capital, Rauschenberg Foundation, the MAP Fund, and the Guggenheim Foundation.

Lynching postcards were a gruesome common merchandise sold at lynchings, which were far too often community celebrations attended by families. The postcards were eventually banned by the USPS in the mid 20th century.
We were drawing conceptual connections between lynchings and police killings of black men. Funding came from from Creative Capital, Rauschenberg Foundation, the MAP Fund, and the Guggenheim Foundation.

Lynching postcards were a gruesome common merchandise sold at lynchings, which were far too often community celebrations attended by families. The postcards were eventually banned by the USPS in the mid 20th century.
We were drawing conceptual connections between lynchings and police killings of black men. Funding came from from Creative Capital, Rauschenberg Foundation, the MAP Fund, and the Guggenheim Foundation.

This animation refers to a particular rape case. The sentencing statement of the victim was heartbreaking, eloquent, and utterly lacking a desire for revenge. At the end of her statement her only wish was that her attacker could see what he did from her perspective and understand how she felt and how it affected her. This places his image within her words to justify projecting an HD version of her words on the wall of a museum so more people would read them.