This is a funny God video, we're not leadership's channel, what the Sonia and Oh, they pelt out stories about lowirac in poor housing experiences. In 두�욕, it took Iceland off prototyping. Frank Th耶ch Kay Fleieu our family. And Jack Big, which we are the office director, and we cut that out together, right after we journalists were like we think about that. And I'm trying to break our own down to be noticed, from my parents crib back in the day and looking at the tag, it said 100% cotton. And then like going through my sketches, like it also being about cotton. It was like my ancestors gave me like this tap on the shoulder to like just go in, you know, taking the same cotton of slavery and using it as a tool to not only display the work, but grow from, you know. A lot of my work stems from American traditional tattoos. The intention is to actually show a reflection of true American history, connecting these dots of how this sailor tattoos cross paths with the African diaspora. At first glance it might just seem like, just like a generic image, you know, but that image or that tattoo represents passage across the Atlantic Ocean. I honestly take great pride in taking these images and flipping them into this narrative that's about black liberation, you know. Black and white in particular, you know, it's just like, it's just that natural contrast that's just so easy to register. This is a conversation between black America and white America. Why not even take that element of further step, you know, and to actually put that within the works. Natural process of tattooing and the process of sewing, they're very similar in a way, you know, they're both still using needles. They're going in an up and down motion, the way that you control the fabric and the way that you move it at a certain speed as well as like the machine and moving at a certain speed and it's just a great feeling, you know. With the process of collaborating with bands, I was trying to figure out what's the best way to have my art come through and take it from like a flat surface to a 3D surface. I kind of went into that same mindset of how would I approach a tattoo basically. Then I went to like my sketchbook, I took out the images and I like moved it around and after I exhausted all my options, I was like the front of the shoe, like it just just give them what they want, you know, front and center, black and white. That was the way to do it.