It is impossible for me to isolate when exactly it was that I first learned of the 1811 German Coast Uprising.

For Backwater Truths, my continued artistic aesthetic requires of me the practice of working with Black Indigenous queer technologies and histories; technologies that disrupt white dominant concepts of time, gender, borders, and extreme systems of punishment that have altered a natural order. In understanding the reimagination of the backwaters, the aesthetics that became relevant for the foundation of this work are Kevin Quashie’s use of Black aliveness, Katherine McKittrick’s context of Black cartographies, and Leanne Betasamosake Simpson’s context of layering.