As a Black queer ‘Mas Man,’ I weld and hand-bend industrial wire, layering paper, encaustic wax, and carnival adornment to construct contemporary regalia—sculptural Power Objects that examine Black masculinity as a space of spiritual and embodied agency, protection, ancestral memory, desire, and celebration. Rooted in a multi-generational lineage of Trinidadian masquerade makers, I build these armatures for contemporary bodies across identity and expression.

These works are not costumes awaiting activation; they are autonomous sculptural forms, carrying authority through their material presence.

Working across translucent encaustic mantles, Mitan-centered assemblages, glyphs, and relics, I explore the tension between protection and vulnerability. By transforming found materials into ceremonial structures and apertures, I reimagine the body as a site of survival, ritual, and radical desire.

Each piece functions as an element of a larger system of regalia, a reclaimed language of adornment that centers the expansive self. Through layered materials, hierarchy, and the technical process of Mas, I create a visual archive that insists on the necessity of the sovereign body.