about
I curate.
I collect.
I create.
I’ve spent most of my career moving between art, technology and culture, usually asking some version of the same questions: Who gets seen? Who gets supported? Who gets remembered?
My work has taken different forms over the years. I’ve made art, built technology, created platforms, collected thousands of works, curated exhibitions and written about what happens when culture moves onto systems that were never designed to preserve it. Each part of the work has informed the next.
Artist
I was an artist first.
Making art taught me to pay attention. Not just to the work itself, but to the systems around it: who gets access, who gets exhibited, who gets collected and who gets left out.
I still make work. It remains one of the ways I think through the questions that show up everywhere else in my practice.
Technologist & Entrepreneur
Technology has been part of my work for more than two decades.
I’ve built products, led teams and worked at the intersection of technology, creators and community. That experience taught me that infrastructure is never neutral. The systems we build determine who gets access, who participates and, increasingly, what gets preserved.
When digital art and blockchain technology began creating new possibilities for artists, particularly artists who had historically been excluded from traditional art markets, I paid attention.
TheBlkChain
I started TheBlkChain because I could see extraordinary work being made by Black artists and other underrepresented creators, and I wanted more people to see it.
What began as a platform for discovery became something else over time: a record.
The interviews, exhibitions, conversations and artists we documented captured a period of digital cultural production that was moving incredibly fast. Years later, I understand TheBlkChain differently. We weren’t simply covering what was happening. We were helping document it while it was happening.
That distinction would become important.
Collector & Curator
I started collecting because I loved the work.
I kept collecting because I realized how much of it could disappear.
Over six years, I’ve built a personal collection of more than 4,000 digital works. It reflects what I’m drawn to, but it also traces many of the questions that now run through everything I do: Who gets collected? Who gets remembered? What survives when the platforms don’t?
Collecting eventually led naturally to curating. I’ve organized exhibitions and screenings with SuperRare, at Art Basel and at the MetaCannes Film3 Festival, bringing artists and works into conversation with one another and with the larger cultural record.
My personal collection continues independently from MoDDA.
Explore the collection →Preservation
Eventually, visibility stopped feeling like enough.
Getting an artist seen matters. Selling the work matters. Exhibiting it matters. But none of those things guarantee that the work will still be accessible ten, twenty or fifty years from now.
That question became the foundation for Proof of Culture, my writing, conversations and research about art, technology, ownership, archives and cultural memory.
A post is not an archive. A platform is not an archive. And culture does not preserve itself.
MoDDA
now / founder & executive directorEventually all of these threads led to the same place.
I founded the Museum of Diasporan Digital Art because I wanted to build the kind of institution I believed this work deserved.
MoDDA collects, preserves, researches and exhibits digital art, with a primary focus on artists of the Black diaspora. Its Founding Collection grew from my personal collection, but the institution is larger than that origin and is being built for the long term.
For me, MoDDA isn’t a departure from the work that came before it.
It is what the work was leading toward.
Visit MoDDA →Read the thinking behind the work.
Proof of Culture →