My practice is abstraction. I use a variety resources to produce my work that include natural forms, astromonic forms, and maps and interstellar locations to construct and reconstruct positionality and distance. I combine both non-objective and abstraction methods. Abstraction uses the real to interpret and reinterpret the known world, while a non-objective method refuses the real and instead uses the elements of art to produce art.  This construct is similar to the relationship between various musical forms; the difference is presented through forms and methods. 

Abstraction in the visual and plastic arts is misrecognized as incomprehensible when in fact, abstraction in the visual is imbued with elements similar to jazz. Those elements are call and response, movement, and color.  They create and orchestrate a compositional whole that results in a musical composition, or a two dimensional composition of color, lines, and shapes.
I suggest that non-objective art was developed out of African motifs, (remember Picasso’s appropriation of African motifs for Les Demoiselles d’Avignon).  Aaron Douglas, the first American, and African American to make use of African motifs. His work should be understood as non-objective in design and abstract in content. Contemporary African American abstract/non-objective art’s historicism is grounded in the work of Aaron Douglas.
It has always been a penchant of mine to look at the particulars of what I see around me and reinterpret them. I use various scientific theories developed out of astrophysics, microbiology, space-time, ancient cave painted symbols, and mathematics. I wonder about cognitive science and how the eye interprets what we see; can the signs we take for granted be understood in some other way? 
For instance in series “The Butterfly House,” “Hoot and Holler,” and "Signs of Civilization" I use natural forms. Natural forms lend themselves to becoming other than that which they are. Rocks have their own history and evolutionary processes; they make their way up to the surface by natural forces, or by human beings unearthing them. They are heavy, smooth, rough and bound, too, by gravity. What is the color of a rock? Can the color of a rock that flies change its nature, its color? It might be that the rock attains agency, and with the help of an artist whose effort is to make something new, to make something different happen, I might open a door to an alternative way of thinking and looking.