I embrace the unique aspects of femininity to reveal strength. The women in my portraits have a story, an identity, and assurance. I'm inspired by the grace of women from the past and present. Often my work is used to describe my own identity (a multi-identified woman), allowing the characters in my work to be ambiguous. 

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My heritage is American Creole. The Labat family (my paternal side) have made a steady reputation in Bay St. Louis, Mississippi. Celestine and Inez Labat were my grandfather's aunts, and made a reputation for themselves beyond Mississippi in the early 20th century. As young black educated women, they traveled the world, met artists (including Barté, close friend of Inez), attended universities like Howard University and University of Southern California to receive up to Master degrees. My heritage and family history is precious to me. My great, great aunts' successes prove the incredible spark that lives within a woman; even through troubling and sickening times in the racist and sexist south. I use French baroque designs that remind me of the grand, carefully crafted furniture that belonged in the home of my Aunt Celestine (or as we all called her, Aunt Teenie).

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As a proud lesbian, I know my voice matters. I want my artistry to be an inspiration to other young black and/or gay women. During my lifetime,  I've experienced how women are treated. Often we are not respected, seen as objects, and to exist for the man. Assurance is often symbolized in my work by doors, door-knockers, locks, keys, and other objects that represent permission to enter. Women reserve the right to refuse anyone they don't want to enter; this reclaims their power. Throughout art history, women are almost always painted objectively. The women in my paintings have a purpose and often stare the viewer in the eye, prepared for confrontation.