A featured work in the Spring 2025 issue of Hammer & Hope, Moonlight: Respite of the Black Madonnas accompanies a powerful dialogue between Rhiana Gunn-Wright and Olúfẹ́mi O. Táíwò on building a more human-centered climate movement. This collage from my Moonlight series envisions Black women at rest, held by nature rather than burdened by it.

Last fall, I was honored to create a large-scale collage for Sugar Made Us Free? Diabetes and the Afterlife of Slavery in Barbados: Art, Archive & the Gendered Dimensions of Risk, an interdisciplinary project led by Drs. Tonya Haynes (UWI) and Nicole Charles (University of Toronto Mississauga).

Drawing inspiration from Colin Robinson’s published book of poems, You Have You Father Hard Head, I produced “Another Poem”, a large-scale mixed media collage that explores Robinson’s sitting at the crossroads of several intersecting aspects of his life that will be exhibited during the Plural of He exhibition in New York.

I am delighted to be the featured artist for Small Axe SX Art January 2024 issue in which I discuss the evaluation of Another Poem, my large-scale mixed media collage that will be exhibited in The Plural of He exhibition at Leslie Lohman Museum starting March 15, 2024.

My Moonlight collage, Pool graces the cover the November 2022 cover of The Journal of West Indian Literature edited by Dr. Ronald Cummings, Associate Professor of English Cultural Studies at MacMaster University.

I am chuffed to announce the debut of my first art book in collaboration with interdisciplinary artist, Nyugen Smith.

So much of my art practice has been rooted in the visually stunning quality of Barbados’ landscape that when Dr. Sonia Peter approached me in 2019 about collaborating on a duo of activity coloring books for adults and children featuring the rich biodiversity of the island, I was more than a little excited.

This week I’m the featured artist interview on the Visionary Art Collective website. I talk literary and musical influences as well as ins and outs of my art practice.

The debut of“Fugitive Ecologies”, a series of “rebellious botanical” collages created in early 2020, exploring adaptation, dislocation, and beauty during a time of global uncertainty. Now showing with the Tourné Gallery.

I reflect on moving to Tulsa at the start of the pandemic and how that transition sparked her “Fugitive Ecologies” collage series, in conversation with Trinidadian cultural theorist Dr. Marsha Pearce.

I am featured in the Jamaica Observer’s Bookends section as part of their #CaribbeanStrong series, discussing the evolution of her collage practice, the influence of literature and place, and the role of improvisation in my visual work.

I debut two new bodies of collage work in 6 for a 9, a co-exhibition with Ronald Williams at Morningside Gallery in Barbados. The show reflects a rich creative exchange through silhouette, scale, sound, and abstraction.

I join Argentinian artist Poli Baum for Manchas & Collages, a 2018 art exhibition hosted by the Embassy of Argentina in Barbados to celebrate 50 years of diplomatic relations. The show explores transformation and the power of collage.

I collaborated with Enclothed Cognition to create a limited-edition kimono for the 2018/19 season, blending collage, fashion, and design into a sculptural garment now touring design museums across the Netherlands.

Installed at the Barbados Museum during International Museum Week 2018, “Hello, My Love” is a collage intervention by Llanor Alleyne that reclaims visual space within the colonial archive. The work centers queer Caribbean intimacy in direct conversation with the museum’s display of Agostino Brunias prints.

I reflect on the creation of my Queering Cane collage series for the 2017 Prizm Art Fair in Miami. Installed alongside Art Basel, this new work explores queer intimacy and belonging in the Caribbean through layered, symbolic landscapes.

I delve behind the scenes of The Guard, a 2017 endurance performance created with artist Nyugen E. Smith at the Barbados Museum. Together, we examine power, presence, and visibility inside colonial-era gallery spaces.

In this photo essay, I take a road trip with a close friend in search of Barbados’s hidden gem, Pico Tenerife on the rugged east coast of the island.

Two of my collages, Seraphina and Kimba, are featured in MoCADA Museum’s My Collection benefit exhibition and auction, supporting the museum’s free programming and expansion in Brooklyn.

Written in the Body, my first solo exhibition in Barbados, brings together new collages exploring female subjectivity, transformation, and interior experience through abstraction and Black feminist portraiture.