Vivid fragmented figures through sewn textiles, printed patterns and painted gestures that disrupt fixed notions of Black femininity, using the very materiality of fabric to interrogate race, gender and sexuality as layered, performed and often fictionalized constructs; her protagonists, predominantly women, inhabit scenes where decorative excess and bodily distortion operate not as spectacle but as resistance to the objectifying gaze, asserting instead a space of presence, self-fashioning and autonomy, which situates Self’s work at the forefront of a global dialogue on representation and identity politics, blending abstraction with figuration in a way that is both culturally grounded and radically inventive.
