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Reposted from @terngallery

Proud to be a represented by this amazing gallery, and to work with this lovely cohort of women! 🔥💖

For this year’s Women’s History Month, TERN presents the compelling works of Bahamian women artists April Bey (@aprilbey_), Cydne Jasmin Coleby (@cydoodles), and Jodi Minnis-Rolle (@jodiminnistudio) in the Women-Led Galleries NOW Artsy (@artsy) Showcase.

Bahamian-American interdisciplinary artist April Bey continues her introspective and social critique of American and Bahamian culture. Cydne Jasmin Coleby, Bahamian multidisciplinary artist, extends her investigation of the personal, ancestral, and collective relationships to conditioning and trauma through the lens of Caribbean identity. Jodi Minnis-Rolle employs her multidisciplinary practice to further examine the intersection of gender, race, and culture.

Each artist gathered to highlight how their use of both native and manmade materials within their practices, inform the ethoses of their work. The showcase, poetically curated, asks viewers to look deeper than the vibrant palettes and assemblages of their work; to really conceive of what it means to be Caribbean and woman.

To view the showcase, head our bio-link now!

#terngallery
#IWD2026
#womenledgalleriesnow
#artsyshowcase w @download_repost_pro

Reposted from @terngallery

Proud to be a represented by this amazing gallery, and to work with this lovely cohort of women! 🔥💖

For this year’s Women’s History Month, TERN presents the compelling works of Bahamian women artists April Bey (@aprilbey_), Cydne Jasmin Coleby (@cydoodles), and Jodi Minnis-Rolle (@jodiminnistudio) in the Women-Led Galleries NOW Artsy (@artsy) Showcase.

Bahamian-American interdisciplinary artist April Bey continues her introspective and social critique of American and Bahamian culture. Cydne Jasmin Coleby, Bahamian multidisciplinary artist, extends her investigation of the personal, ancestral, and collective relationships to conditioning and trauma through the lens of Caribbean identity. Jodi Minnis-Rolle employs her multidisciplinary practice to further examine the intersection of gender, race, and culture.

Each artist gathered to highlight how their use of both native and manmade materials within their practices, inform the ethoses of their work. The showcase, poetically curated, asks viewers to look deeper than the vibrant palettes and assemblages of their work; to really conceive of what it means to be Caribbean and woman.

To view the showcase, head our bio-link now!

#terngallery
#IWD2026
#womenledgalleriesnow
#artsyshowcase w @download_repost_pro

Reposted from @terngallery

Proud to be a represented by this amazing gallery, and to work with this lovely cohort of women! 🔥💖

For this year’s Women’s History Month, TERN presents the compelling works of Bahamian women artists April Bey (@aprilbey_), Cydne Jasmin Coleby (@cydoodles), and Jodi Minnis-Rolle (@jodiminnistudio) in the Women-Led Galleries NOW Artsy (@artsy) Showcase.

Bahamian-American interdisciplinary artist April Bey continues her introspective and social critique of American and Bahamian culture. Cydne Jasmin Coleby, Bahamian multidisciplinary artist, extends her investigation of the personal, ancestral, and collective relationships to conditioning and trauma through the lens of Caribbean identity. Jodi Minnis-Rolle employs her multidisciplinary practice to further examine the intersection of gender, race, and culture.

Each artist gathered to highlight how their use of both native and manmade materials within their practices, inform the ethoses of their work. The showcase, poetically curated, asks viewers to look deeper than the vibrant palettes and assemblages of their work; to really conceive of what it means to be Caribbean and woman.

To view the showcase, head our bio-link now!

#terngallery
#IWD2026
#womenledgalleriesnow
#artsyshowcase w @download_repost_pro

Reposted from @terngallery

Proud to be a represented by this amazing gallery, and to work with this lovely cohort of women! 🔥💖

For this year’s Women’s History Month, TERN presents the compelling works of Bahamian women artists April Bey (@aprilbey_), Cydne Jasmin Coleby (@cydoodles), and Jodi Minnis-Rolle (@jodiminnistudio) in the Women-Led Galleries NOW Artsy (@artsy) Showcase.

Bahamian-American interdisciplinary artist April Bey continues her introspective and social critique of American and Bahamian culture. Cydne Jasmin Coleby, Bahamian multidisciplinary artist, extends her investigation of the personal, ancestral, and collective relationships to conditioning and trauma through the lens of Caribbean identity. Jodi Minnis-Rolle employs her multidisciplinary practice to further examine the intersection of gender, race, and culture.

Each artist gathered to highlight how their use of both native and manmade materials within their practices, inform the ethoses of their work. The showcase, poetically curated, asks viewers to look deeper than the vibrant palettes and assemblages of their work; to really conceive of what it means to be Caribbean and woman.

To view the showcase, head our bio-link now!

#terngallery
#IWD2026
#womenledgalleriesnow
#artsyshowcase w @download_repost_pro

A Formal Respone (2025)
Acrylic, Conte Crayons, Colored Pencil, Saw dust, and Ink on Rives BFK Paper
31 x 42 inches
-----------
Studios are for play.
�Last year, I wanted to take a step away from figuration and dip my toe into abstraction. Just to see, lol.�

The title “ A Formal Response” stems from a conversation I had with artist Brooke Shu. She asked me about my relationship to form, and I said that form is “a response to the guts.” In this work, form is not merely shape, but an interpretation of self-examination — an attempt to give shape/face/a body to internal states

Additionally, the composition draws from personal photographs spanning moments of joy, conflict, and solitude. Together, these fragments speak to the instability of a fixed "self". Rather than being permanent, selfhood is relational; responsive to people and place. A Formal Response seeks to convey an embodied awareness of a continual state of flux.

New Year; New Headshots ✨

I’ve said it before, and I’ll say it again, @blairmeadows has never had me lookin’ busted. Thank you, Blair, for your eye, and thank you, @Terngallery, for facilitating the magic.

New Year; New Headshots ✨

I’ve said it before, and I’ll say it again, @blairmeadows has never had me lookin’ busted. Thank you, Blair, for your eye, and thank you, @Terngallery, for facilitating the magic.

New Year; New Headshots ✨

I’ve said it before, and I’ll say it again, @blairmeadows has never had me lookin’ busted. Thank you, Blair, for your eye, and thank you, @Terngallery, for facilitating the magic.

Loose Goat Don’ Know (2025)
Acrylic, Colored Pencil, Embroidery Thread, Decorative Paper, Conte Crayon, and Glitter on Rives BFK Paper
32 x 42 inches
-------
Loose Goat Don’ Know is inspired by the Bahamian adage “loose goat don’ know how tie(d) goat feel”. This saying is designed to inspire empathy for the plight of others; however, I find that the expression exposes a more complex truth than what is presented on the surface. At first encounter, the adage proposes that the tied goat is in a worse, even traumatized, state than the loose goat. But this only holds true if we take the position that goats aren’t meant to be bound. However, when the valid classifications of farm/domesticated animals are introduced to the conversation, a us vs. them dynamic is exposed. Not in the sense of right/wrong or better/worse, but that both goats (parties) are existing within realities that the other fundamentally cannot understand because they lack the experience and/or identity necessary to do so. To that, add that there is no way to assert that all goats that are tied feel trapped, or that all goats that are loose feel free.

In the midst of winter, we’re reflecting on warmer days as Cydne Coleby speaks about her limited-edition print “Remembering I” ☀️

Comprising collaged elements that make up an image of two companions seated by the sea, “Remembering I” was created in response to the Bahamian government’s decision to restrict citizens’ access to the beach, during the height of the pandemic.

TAP TO SHOP @cydoodles’ limited edition print today!

#artforchange #limitededitionprint #CydneColeby

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Before I get too far into 2026, I wanted to take a moment to appreciate the highs of 2025. I have a bad habit of focusing so much on what’s next that I don’t sit with what I’ve actually done. So much so that I fool myself into believing I didn’t accomplish anything. Bare lies. And that’s not an insult to me and my hard work, but to the efforts of the people who support me. 

Thank you to everyone that gave me opportunities to exhibit my work and share my voice. Thank you to everyone who put me in print (and on film - more on that later). Thank you to everyone who showed up to support me, educate me, and see me. And thank you to all of the people who brought joy to my life outside of the studio.

Here’s to not adding to the world’s fuckery in 2026!

Up/Rooted (2025)
Acrylic, Conte Crayons, Colored Pencil, and
Decorative Paper on Rives BFK Paper
31 x 42 inches

———

When a house plant outgrows its pot, you have to replant it in a larger vessel, otherwise the plant runs the risk of dying. Ironically, in this migration the plant will mostly experience “transplant shock”. Transplant shock refers to the plant’s stress response to being uprooted and replanted. It’s known to cause wilting, leaf drop, and stunted growth due to root damage or changes in soil, light, and climate. However, once the plant adjusts to its new home, it will continue to grow and thrive.

But what happens if the plant doesn’t get the chance to adapt and is caught in a cyclical state of replanting?

———

Untitled Miami (@untitledartfairs)
@terngallery
Booth B3

@terngallery
Untitled Art, Miami Beach
Booth B3
December 3-7, 2025

April Bey @aprilbey_
Cydne Jasmin Coleby @cydoodles
Kachelle Knowles @kayshlo
Anina Major @aninamajor
Keith Thompson @thatprettyflack0

We’re back on the beach @untitledartfairs! ☀️🌊

Today kicks off the Preview Opening of Untitled Art Miami Beach for Press and VIP guests! TERN Gallery is thrilled to be showcasing a powerful lineup of Caribbean artists whose practices span identity, material transformation, and speculative worlds. Visit us at Booth B3 to experience new works by this remarkable cohort and to learn more about how their voices continue to expand the visual language of the region and its diaspora.

See you soon in Miami!

#terngallery
#untitledartmiamibeach
#caribbeanart
#caribbeanartistreppin

Roundin’ the year out with these heavy hittas 💖

@terngallery
Untitled Art, Miami Beach
Booth B3
December 3–7, 2025

April Bey @aprilbey_
Cydne Jasmin Coleby @cydoodles
Kachelle Knowles @kayshlo
Anina Major @aninamajor
Keith Thompson @thatprettyflack0

…And for our final (fair) act, we’re headed to Untitled Art, Miami Beach!

This year, we will present new works by Bahamian artists April Bey, Cydne Jasmin Coleby, Kachelle Knowles, Anina Major, and Keith Thompson. Collectively, the works span between mixed-media drawings on paper to digitally woven tapestries to ceramics and printmaking and collage on wooden panels to painting. Each artist’s texturally dense practice interlocks like roots grounded in the same Caribbean soil. Their ever-evolving creative processes pull on the aesthetics of home while transporting their influences into rich, dense, and challenging works of art. The booth will be designed to accentuate their overlapping textures and the contrast in the works.

If you’re in Miami from December 3–7 and are attending the fair, stop by Booth B3 to see this gorgeous display, interact with us and the artists!

#terngallery
#untitledartmiamibeach
#caribbeanart
#caribbeanartistsreppin

Roundin’ the year out with these heavy hittas 💖

@terngallery
Untitled Art, Miami Beach
Booth B3
December 3–7, 2025

April Bey @aprilbey_
Cydne Jasmin Coleby @cydoodles
Kachelle Knowles @kayshlo
Anina Major @aninamajor
Keith Thompson @thatprettyflack0

…And for our final (fair) act, we’re headed to Untitled Art, Miami Beach!

This year, we will present new works by Bahamian artists April Bey, Cydne Jasmin Coleby, Kachelle Knowles, Anina Major, and Keith Thompson. Collectively, the works span between mixed-media drawings on paper to digitally woven tapestries to ceramics and printmaking and collage on wooden panels to painting. Each artist’s texturally dense practice interlocks like roots grounded in the same Caribbean soil. Their ever-evolving creative processes pull on the aesthetics of home while transporting their influences into rich, dense, and challenging works of art. The booth will be designed to accentuate their overlapping textures and the contrast in the works.

If you’re in Miami from December 3–7 and are attending the fair, stop by Booth B3 to see this gorgeous display, interact with us and the artists!

#terngallery
#untitledartmiamibeach
#caribbeanart
#caribbeanartistsreppin

Roundin’ the year out with these heavy hittas 💖

@terngallery
Untitled Art, Miami Beach
Booth B3
December 3–7, 2025

April Bey @aprilbey_
Cydne Jasmin Coleby @cydoodles
Kachelle Knowles @kayshlo
Anina Major @aninamajor
Keith Thompson @thatprettyflack0

…And for our final (fair) act, we’re headed to Untitled Art, Miami Beach!

This year, we will present new works by Bahamian artists April Bey, Cydne Jasmin Coleby, Kachelle Knowles, Anina Major, and Keith Thompson. Collectively, the works span between mixed-media drawings on paper to digitally woven tapestries to ceramics and printmaking and collage on wooden panels to painting. Each artist’s texturally dense practice interlocks like roots grounded in the same Caribbean soil. Their ever-evolving creative processes pull on the aesthetics of home while transporting their influences into rich, dense, and challenging works of art. The booth will be designed to accentuate their overlapping textures and the contrast in the works.

If you’re in Miami from December 3–7 and are attending the fair, stop by Booth B3 to see this gorgeous display, interact with us and the artists!

#terngallery
#untitledartmiamibeach
#caribbeanart
#caribbeanartistsreppin

Roundin’ the year out with these heavy hittas 💖

@terngallery
Untitled Art, Miami Beach
Booth B3
December 3–7, 2025

April Bey @aprilbey_
Cydne Jasmin Coleby @cydoodles
Kachelle Knowles @kayshlo
Anina Major @aninamajor
Keith Thompson @thatprettyflack0

…And for our final (fair) act, we’re headed to Untitled Art, Miami Beach!

This year, we will present new works by Bahamian artists April Bey, Cydne Jasmin Coleby, Kachelle Knowles, Anina Major, and Keith Thompson. Collectively, the works span between mixed-media drawings on paper to digitally woven tapestries to ceramics and printmaking and collage on wooden panels to painting. Each artist’s texturally dense practice interlocks like roots grounded in the same Caribbean soil. Their ever-evolving creative processes pull on the aesthetics of home while transporting their influences into rich, dense, and challenging works of art. The booth will be designed to accentuate their overlapping textures and the contrast in the works.

If you’re in Miami from December 3–7 and are attending the fair, stop by Booth B3 to see this gorgeous display, interact with us and the artists!

#terngallery
#untitledartmiamibeach
#caribbeanart
#caribbeanartistsreppin

Roundin’ the year out with these heavy hittas 💖

@terngallery
Untitled Art, Miami Beach
Booth B3
December 3–7, 2025

April Bey @aprilbey_
Cydne Jasmin Coleby @cydoodles
Kachelle Knowles @kayshlo
Anina Major @aninamajor
Keith Thompson @thatprettyflack0

…And for our final (fair) act, we’re headed to Untitled Art, Miami Beach!

This year, we will present new works by Bahamian artists April Bey, Cydne Jasmin Coleby, Kachelle Knowles, Anina Major, and Keith Thompson. Collectively, the works span between mixed-media drawings on paper to digitally woven tapestries to ceramics and printmaking and collage on wooden panels to painting. Each artist’s texturally dense practice interlocks like roots grounded in the same Caribbean soil. Their ever-evolving creative processes pull on the aesthetics of home while transporting their influences into rich, dense, and challenging works of art. The booth will be designed to accentuate their overlapping textures and the contrast in the works.

If you’re in Miami from December 3–7 and are attending the fair, stop by Booth B3 to see this gorgeous display, interact with us and the artists!

#terngallery
#untitledartmiamibeach
#caribbeanart
#caribbeanartistsreppin

Who Raised You? (2025)
Acrylic paint, Decorative paper, photo collage, Image transfer, and acrylic gems on wood panel
30 x 40inches

Now on view @terngallery as a part of To Scatter Seeds
---------

Of the five works in this series, Who Raised You? offers the most direct meditation on familial influence as foundational to identity formation. The piece builds upon my 2018 digital collage series Generational Curses, which explored how societal expectations and family-based comparisons shape self-perception and relational dynamics. In that series, I responded to familiar phrases like “You jus’ like ya Pa” or “She take after her Mummy” by digitally collaging childhood photos of immediate relatives, replacing parts of their bodies with textures, patterns, and fragments of my own. These phrases—common in Caribbean households—can affirm, burden, or complicate how we come to see ourselves, depending on the tone and context in which they’re delivered. Who Raised You?continues this interrogation by revisiting and reworking the only piece in the original series that addressed my individuality within the wider family unit: She Spells Her Cydne with a C (slide 5).

-------

📸 Photos by @blairmeadows

Who Raised You? (2025)
Acrylic paint, Decorative paper, photo collage, Image transfer, and acrylic gems on wood panel
30 x 40inches

Now on view @terngallery as a part of To Scatter Seeds
---------

Of the five works in this series, Who Raised You? offers the most direct meditation on familial influence as foundational to identity formation. The piece builds upon my 2018 digital collage series Generational Curses, which explored how societal expectations and family-based comparisons shape self-perception and relational dynamics. In that series, I responded to familiar phrases like “You jus’ like ya Pa” or “She take after her Mummy” by digitally collaging childhood photos of immediate relatives, replacing parts of their bodies with textures, patterns, and fragments of my own. These phrases—common in Caribbean households—can affirm, burden, or complicate how we come to see ourselves, depending on the tone and context in which they’re delivered. Who Raised You?continues this interrogation by revisiting and reworking the only piece in the original series that addressed my individuality within the wider family unit: She Spells Her Cydne with a C (slide 5).

-------

📸 Photos by @blairmeadows

Who Raised You? (2025)
Acrylic paint, Decorative paper, photo collage, Image transfer, and acrylic gems on wood panel
30 x 40inches

Now on view @terngallery as a part of To Scatter Seeds
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Of the five works in this series, Who Raised You? offers the most direct meditation on familial influence as foundational to identity formation. The piece builds upon my 2018 digital collage series Generational Curses, which explored how societal expectations and family-based comparisons shape self-perception and relational dynamics. In that series, I responded to familiar phrases like “You jus’ like ya Pa” or “She take after her Mummy” by digitally collaging childhood photos of immediate relatives, replacing parts of their bodies with textures, patterns, and fragments of my own. These phrases—common in Caribbean households—can affirm, burden, or complicate how we come to see ourselves, depending on the tone and context in which they’re delivered. Who Raised You?continues this interrogation by revisiting and reworking the only piece in the original series that addressed my individuality within the wider family unit: She Spells Her Cydne with a C (slide 5).

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📸 Photos by @blairmeadows

Who Raised You? (2025)
Acrylic paint, Decorative paper, photo collage, Image transfer, and acrylic gems on wood panel
30 x 40inches

Now on view @terngallery as a part of To Scatter Seeds
---------

Of the five works in this series, Who Raised You? offers the most direct meditation on familial influence as foundational to identity formation. The piece builds upon my 2018 digital collage series Generational Curses, which explored how societal expectations and family-based comparisons shape self-perception and relational dynamics. In that series, I responded to familiar phrases like “You jus’ like ya Pa” or “She take after her Mummy” by digitally collaging childhood photos of immediate relatives, replacing parts of their bodies with textures, patterns, and fragments of my own. These phrases—common in Caribbean households—can affirm, burden, or complicate how we come to see ourselves, depending on the tone and context in which they’re delivered. Who Raised You?continues this interrogation by revisiting and reworking the only piece in the original series that addressed my individuality within the wider family unit: She Spells Her Cydne with a C (slide 5).

-------

📸 Photos by @blairmeadows

Who Raised You? (2025)
Acrylic paint, Decorative paper, photo collage, Image transfer, and acrylic gems on wood panel
30 x 40inches

Now on view @terngallery as a part of To Scatter Seeds
---------

Of the five works in this series, Who Raised You? offers the most direct meditation on familial influence as foundational to identity formation. The piece builds upon my 2018 digital collage series Generational Curses, which explored how societal expectations and family-based comparisons shape self-perception and relational dynamics. In that series, I responded to familiar phrases like “You jus’ like ya Pa” or “She take after her Mummy” by digitally collaging childhood photos of immediate relatives, replacing parts of their bodies with textures, patterns, and fragments of my own. These phrases—common in Caribbean households—can affirm, burden, or complicate how we come to see ourselves, depending on the tone and context in which they’re delivered. Who Raised You?continues this interrogation by revisiting and reworking the only piece in the original series that addressed my individuality within the wider family unit: She Spells Her Cydne with a C (slide 5).

-------

📸 Photos by @blairmeadows

"To Scatter Seeds" is still on view at TERN Gallery! Have you seen it yet?

I'm incredibly proud of what Kachelle, Jodi, and I created together, and couldn’t have asked for a better group to share this space with.

If you're in Nassau, treat your eyes and visit the gallery to experience it in person!

Gallery details below:

📍 Mahogany Hill, Western Road, Nassau, The Bahamas
🕰️ Monday | By appointment ; Tuesday–Saturday | 10 AM–6 PM
📸 Photos by Blair Meadows

"To Scatter Seeds" is still on view at TERN Gallery! Have you seen it yet?

I'm incredibly proud of what Kachelle, Jodi, and I created together, and couldn’t have asked for a better group to share this space with.

If you're in Nassau, treat your eyes and visit the gallery to experience it in person!

Gallery details below:

📍 Mahogany Hill, Western Road, Nassau, The Bahamas
🕰️ Monday | By appointment ; Tuesday–Saturday | 10 AM–6 PM
📸 Photos by Blair Meadows

"To Scatter Seeds" is still on view at TERN Gallery! Have you seen it yet?

I'm incredibly proud of what Kachelle, Jodi, and I created together, and couldn’t have asked for a better group to share this space with.

If you're in Nassau, treat your eyes and visit the gallery to experience it in person!

Gallery details below:

📍 Mahogany Hill, Western Road, Nassau, The Bahamas
🕰️ Monday | By appointment ; Tuesday–Saturday | 10 AM–6 PM
📸 Photos by Blair Meadows

"To Scatter Seeds" is still on view at TERN Gallery! Have you seen it yet?

I'm incredibly proud of what Kachelle, Jodi, and I created together, and couldn’t have asked for a better group to share this space with.

If you're in Nassau, treat your eyes and visit the gallery to experience it in person!

Gallery details below:

📍 Mahogany Hill, Western Road, Nassau, The Bahamas
🕰️ Monday | By appointment ; Tuesday–Saturday | 10 AM–6 PM
📸 Photos by Blair Meadows

"To Scatter Seeds" is still on view at TERN Gallery! Have you seen it yet?

I'm incredibly proud of what Kachelle, Jodi, and I created together, and couldn’t have asked for a better group to share this space with.

If you're in Nassau, treat your eyes and visit the gallery to experience it in person!

Gallery details below:

📍 Mahogany Hill, Western Road, Nassau, The Bahamas
🕰️ Monday | By appointment ; Tuesday–Saturday | 10 AM–6 PM
📸 Photos by Blair Meadows

Normally, I hibernate on my birthday—but I’ll gladly make an exception for this!

Join me tomorrow, May 1st at 2 PM EST, as I sit down with one of my favorite artists, @tessawhitehead , to talk about the creative processes behind my work currently on view in To Scatter Seeds.

This live-streamed conversation—hosted on @terngallery ’s YouTube channel—kicks off a series of three Artist-on-Artist interviews offering a deeper look into how Kachelle, Jodi, and I each approached the show’s theme of what it means to live and be in diaspora. 

Swipe through for the full lineup and talk dates, and check my bio for the link to tune in ✨


Hope to see you there! ❤️

Normally, I hibernate on my birthday—but I’ll gladly make an exception for this!

Join me tomorrow, May 1st at 2 PM EST, as I sit down with one of my favorite artists, @tessawhitehead , to talk about the creative processes behind my work currently on view in To Scatter Seeds.

This live-streamed conversation—hosted on @terngallery ’s YouTube channel—kicks off a series of three Artist-on-Artist interviews offering a deeper look into how Kachelle, Jodi, and I each approached the show’s theme of what it means to live and be in diaspora. 

Swipe through for the full lineup and talk dates, and check my bio for the link to tune in ✨


Hope to see you there! ❤️

Normally, I hibernate on my birthday—but I’ll gladly make an exception for this!

Join me tomorrow, May 1st at 2 PM EST, as I sit down with one of my favorite artists, @tessawhitehead , to talk about the creative processes behind my work currently on view in To Scatter Seeds.

This live-streamed conversation—hosted on @terngallery ’s YouTube channel—kicks off a series of three Artist-on-Artist interviews offering a deeper look into how Kachelle, Jodi, and I each approached the show’s theme of what it means to live and be in diaspora. 

Swipe through for the full lineup and talk dates, and check my bio for the link to tune in ✨


Hope to see you there! ❤️