My Research Statement
:: Visual Culture as Design Innovation
My research is grounded in my work as a practitioner-scholar, in which creative practice serves as both the method and the outcome of scholarly inquiry. I approach graphic design as a research-driven discipline—one that investigates visual culture, identity, and communication through structured processes of ideation, drafting, critique, revision, and peer review. My work sits at the intersection of professional design practice, cultural scholarship, and design education.
As an active designer, I conduct strategic, peer-reviewed creative work through client-based projects and independent cultural inquiry. My professional studio practice, Posh Creative, serves as a research site where visual systems, brand identity, and digital experiences are developed in response to real audiences, constraints, and goals. These projects move through defined stages of research, concept development, review, revision, and final dissemination—paralleling the evaluation and refinement processes found in traditional academic research.
My creative research explores visual culture as a shaping force in how communities understand identity, history, and possibility. I am particularly interested in how design impacts African American heritage and women’s empowerment. While opportunities for personal work are often limited by the demands of professional practice, my independent projects—including posters, zines, digital collage, and visual essays—center Black narratives, examine representation, and propose new visual languages grounded in agency and visibility. These works function as cultural research artifacts that contribute knowledge through visual analysis and public engagement.
This approach reflects my interdisciplinary background in fine art, multimedia communication, and over 15 years of professional creative direction. Because I actively design for clients while teaching and researching, my work remains rooted in real-world application. I view design not as a static artifact, but as a living language—one that evolves through use, context, and critique. Whether developing a brand system, a cultural poster, or a digital experience, each project offers an opportunity to test ideas and convey meaning.
This practitioner-scholar model aligns with nationally recognized standards for creative scholarship. The College Art Association (CAA) affirms creative work as research when it demonstrates originality, disciplinary contribution, and peer evaluation. Similarly, AIGA and the AIGA Design Educators Community recognize professional and creative practice as legitimate scholarly activity when it is research-informed, critically reviewed, and disseminated to appropriate audiences. SACAC further supports applied, peer-reviewed creative and pedagogical scholarship within design education. My research adheres to these standards by situating design outcomes within a documented, iterative, and evaluative framework.
Within this broader practice, three areas consistently guide my research agenda:
:: Visual Identity as Cultural Research
I examine how branding, typography, and digital aesthetics contribute to the narratives communities hold about themselves. Through identity systems and visual storytelling, I explore how design shapes visibility, belonging, and cultural memory.
I examine how branding, typography, and digital aesthetics contribute to the narratives communities hold about themselves. Through identity systems and visual storytelling, I explore how design shapes visibility, belonging, and cultural memory.
:: African American Visual Culture and Women’s Empowerment
My independent creative work centers Black heritage, resilience, and futurity, with particular attention to the experiences of Black women. These projects investigate historical representation while expanding contemporary visual narratives around professionalism, beauty, and innovation.
My independent creative work centers Black heritage, resilience, and futurity, with particular attention to the experiences of Black women. These projects investigate historical representation while expanding contemporary visual narratives around professionalism, beauty, and innovation.
:: Design Pedagogy, STEAM, and Emerging Technologies
As an educator-scholar, I research and implement pedagogical approaches that integrate design fundamentals, industry standards, STEAM research, and emerging technologies such as AI. In December 2025, I was named a Black Tech 30 Honoree by Nolavate Black in recognition of my work integrating AI into design education. This line of inquiry focuses on how new technologies can support critical thinking, ethical decision-making, and culturally responsive design rather than replace foundational design principles.
As an educator-scholar, I research and implement pedagogical approaches that integrate design fundamentals, industry standards, STEAM research, and emerging technologies such as AI. In December 2025, I was named a Black Tech 30 Honoree by Nolavate Black in recognition of my work integrating AI into design education. This line of inquiry focuses on how new technologies can support critical thinking, ethical decision-making, and culturally responsive design rather than replace foundational design principles.
My scholarship and creative work have been shared through professional and academic venues, including Creative Critique and AIGA DEC. I have also served as a peer reviewer for DEFSA and Cumulus, both internationally recognized organizations in design education. My MFA thesis, Overcoming the Myth of the Contemporary Starving Artist, is published in ProQuest and archived in the U.S. Library of Congress, reflecting my commitment to research dissemination and disciplinary contribution.
Looking forward, I plan to continue expanding Visual Culture as Design Innovation through strategic client-based research projects, public-facing visual essays and exhibitions (both print and digital), collaborative student research rooted in New Orleans’ cultural landscape, and ongoing exploration of STEAM and AI integration in design education. Together, these efforts further position creative practice as a rigorous and impactful form of scholarship.
In alignment with Xavier University of Louisiana’s mission of innovation, leadership, and social justice, my research is rooted in real-world practice, informed by cultural inquiry, and driven by the belief that design is a meaningful mode of knowledge production. I view creative work not as an alternative to traditional scholarship, but as scholarship itself—a disciplined process of inquiry that asks questions, generates insight, and contributes to both academic and public discourse.