These works fuse salt and semen—mine, lovers’, horses’—into a photographic emulsion. I move from cinema back into stillness, slowing Black bodies in the archive. Erasure isn’t always destruction; sometimes it’s how I name what’s missing. These prints carry double lives: image and body, memory and residue, desire and loss.
Read MoreMaroon/z is a living archive of fugitivity and desire. It bends the sacred and profane, tracing queer maroon histories through port cities and the digital ports of computers—sites where bodies, information, and spirits enter and exit. It asks: what if pleasure is an archive, what if survival is already insurgent?
Read More‘I Believe in the Future of Small Countries’ for Performatorium 10, Performance & Installation, Regina SK (2024)
Read More1492: A New World View, titled after Sylvia Wynter’s essay, places Black NPCs at the center of a glitched Columbus monument. Collaborating with Guillaume Rogers of Artefactory, Woods-Morrow redirects corporate visualization tools to reveal monuments as unstable products of empire.
Read MoreMy work reimagines Richard Prince’s Untitled, Cowboy through Black American cowboys, slowing cinema into stillness. In Good to me as I am to you (2022), sound, scent, and touch turn installation into a gathering place. Balloons, rugs, subwoofers, and Aretha’s voice hold slowness, pleasure, and maleness in suspension.
Read MoreFirst exhibited in Open Structure at the University of Manitoba, curated by Grace Deveney, How do we memorialize an event that is still ongoing? (2022) sets two stained twin mattresses upright, trembling with the bass of Moneybagg Yo’s Me Vs Me. They compress like lungs, carrying histories of pleasure, grief, and exhaustion.
Read MoreMuch Handled Things Are Always Soft (2019) traces the racial and systemic dynamics of cruising in 1970s Chicago. Featuring Patric McCoy, the film honors Black queer intimacies shaped by segregation, while its guerrilla monument and screenings—from MoMA to the cruising app JACK’D—extend visibility beyond museums, reaching over three million viewers.
Read MoreThe Roach is Coming (2018, 00:15:22 TRT) begins with an intimate return to Adam, a childhood lover of mine who later became a police officer. After years of silence, our reunion unfolds as I process the aftermath of police violence I personally experienced in Chicago,IL one night after leaving a bar. In my glovebox sat my camera, and strobe - objects that point and shoot. This tension amongst so many other things—become the axis for which the film operates.
Read MoreIn There are other ways of remembering the past than by speaking of it (2023), a rusted bedframe, neon light, Atlantic ocean water, fragments from the Wendy’s where Rayshard Brooks was murdered, and (re) traced sunsets authored by martyr Tyre Nichols’ form a slow, glowing memorial.
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