Packed wall to wall with music, movement, and life, The Juke Joint Is Jumpin’ captures the electric energy of a Southern night alive with rhythm. Musicians play, dancers move, and the room pulses with sound and connection—celebrating community, release, and the joy found in shared moments.

In a crowded room filled with watchful eyes, men gather around games of chance where money, pride, and survival intertwine. Winfred Rembert Jr. captures the tension of risk and reward, revealing how moments of play carry deeper stakes within the rhythms of community life.

​This deeply personal portrait captures the 1974 wedding of my parents, Winfred Rembert Sr. and Patsy. The piece focuses on a tender, close-up moment as they share their wedding cake. I used delicate tooling on the bridal veil and focused on the intimacy of their expressions to highlight the love that sustained our family's journey. This work serves as a cornerstone of the "Three Generations" narrative, honoring the union that made this artistic legacy possible.

‍ ‍ Exhibition Piece

​This work is my rendition of my father’s 2002 painting of the same name. It is a high-energy, figurative piece that pays homage to a legendary social hub in Cuthbert, Georgia. The "Dirty Spoon" was a sanctuary for the Black community during the Jim Crow era. I have filled the frame with a rhythmic sea of dancers, musicians, and patrons in sharp, colorful suits and dresses. By revisiting my father's original imagery through my own hand, I aim to capture the movement and resilience of that era, transforming a scene of historical social navigation into a vibrant celebration of our community's joy.

Exhibition Piece

Winfred Rembert Jr. transforms the Southern cotton field into a striking rhythmic composition of color, movement, and memory. Elongated figures stretch and bend between bold yellow pathways, their motions creating a visual cadence across the surface. Bright garments contrast against green fields dotted with white cotton blooms, emphasizing both individuality and collective labor. Rooted in themes of resilience, endurance, and ancestral remembrance, the work honors the generations whose stories and sacrifices shaped the Southern landscape and the cultural memory carried forward today.

Growing up in the 1950s in South Georgia, amidst high racial tension, children found safety within their own neighborhoods. At nine years old, Winfred Rembert Sr. would often go to school simply to have a place to belong during the day. However, after school, the collective walk home highlighted his isolation; as each child turned into their own doorway, Winfred was forced to keep walking alone.

​Nobody’s Child depicts my father’s profound isolation within his own community. In the painting, he is shown looking through windows at the vibrant lives of others—families sharing meals, celebrating birthdays, and observing holidays like Christmas and Halloween—while he remains an outsider to the joy happening around him.

​I used specific visual metaphors to convey this struggle:

• ​The Tattered Clothing: The holes in his clothes symbolize the loss of parts of himself that should have been nurtured and loved.

• ​The Oversized Head: His head is depicted as larger than his body, representing a child forced to grow up and process the world faster than he could naturally mature.

• ​The Medium: The physical texture of the carved leather creates a sharp contrast between the sturdy, colorful safety of the homes and Winfred’s own vulnerability on the brown, empty path.

​This piece serves as a haunting visual narrative of "unbelonging" in Cuthbert, Georgia, marking a foundational chapter in the life of the man whose resilience ultimately birthed our family’s artistic legacy.

Exhibition Piece

A large-scale, visually commanding work depicting collective labor through rhythm and motion. The composition transforms repetition into movement, emphasizing shared experience over individual identity. This piece stands as a defining example of the artist’s narrative practice.

Set against the cotton fields of Cuthbert, Georgia, this contemplative landscape reflects on place, memory, and inheritance. Anchored by the town’s water tower and a solitary Winfred Rembert Sr. The work invites quiet engagement and sustained reflection. ‍‍

‍ ‍ Exhibition Piece

This was a collaborative mural created by Interfaith Volunteer Care Givers.

    My father chronicled nearly his entire life through leather carving. Across more than 300 pieces, he shared his successes, failures, and personal history. In my own craft, I follow a similar process—reflecting on my own triumphs and setbacks to understand how I have grown. Through this medium, we are all able to share a piece of our stories.

     “GIFTED HOPE” is a collaborative leather-carved project. Every element was hand-drawn and carved by the students. At the center is the tree, which represents the growth born from our setbacks, and how those lessons ripple out to the world and the people we care about. We are transformed by our challenges; through them, we learn love, forgiveness, determination, tolerance, innovation, and strength. By burying our setbacks, we allow something beautiful to grow in their place.

     ​Surrounding the tree are our achievements—from singing in a choir and raising children, to maintaining a peaceful home and practicing meditation. We rain love upon these milestones and cultivate our connections to the world. In every class, I watched the students grow. Whenever they believed they couldn't do something, they proved themselves wrong. Just like the tree we carved, they grew stronger with every setback. Every color on that tree represents the human spirit gaining strength throughout our lives.

A figurative composition exploring identity, presentation, and self-fashioning through stylized characters. The work blends humor and social observation, offering accessibility without sacrificing conceptual strength.

Available via gallery consignment or private placement.

A poised portrait of a young woman absorbed in a tennis match, rendered in bold color and clean line. Between Points transforms a quiet spectator moment into a meditation on focus and presence.

Private Collection.

Sweat will always weigh heavy when you toil for someone else. Modern penitentiaries, established only a few decades after slavery was abolished, created a new form of slavery—where the Negro could be forced back into the fields under the guise of “rehabilitation.” Yet the deeper issue remains how the Negro man is treated in this country.

He is seen as having no true, tangible value—not his family, not his person, not even himself. The only worth placed upon him is tied to what he produces, regardless of how that production comes about. The overseer looks across the field and sees not the man, but only his output—the endless bags of gold. Those bags, made from the Negro’s labor, enrich everyone but him. Imagine working your whole life, sweating and straining, only to realize all your effort created wealth for someone else. We never truly left the field.

Big Grits captures the pulse of a crowded juke joint alive with music, movement, and community. Musicians fill the stage—drums pounding, guitar strings ringing, harmonicas crying—while dancers and onlookers pack the floor below. Rendered in bold color and rhythmic composition, the painting celebrates Southern nightlife, shared joy, and the grit and groove of everyday people coming together through sound and motion.

Donated to Quinnipiac University Community Planning Department.

During the 1950s there wasn’t any internet or cellphones. TVs were in their infancy. There was no way to know what was going on in the world on a daily basis and the radio was the source of the majority of information blacks received, as reading was still “outlawed.” This picture is of 1950’s Juke joint in rural south Georgia where live music was the only way to have songs in a club type of atmosphere. You could hear the music for at least a block from the “joint.” According to my father these places were nighttime hubs where you could forget (even for a second) all of the work and troubles from the week. People who went would talk for days about how great of a dancer or singer there were. These juke joints gave life to people who dreamt of being a soul singer like the Temptations, Supremes or the 4 tops. The radio would come to life in these juke joints as the music and dancing wasn’t the only thing being heard at night, dreams were seeping out as well. The bands would get together (if they could) during the week to work on music and dance moves. As for the patrons, some would think about Sue the cute girl in orange; if he just got the nerve to ask her to dance this week. Being a part of these places is where people's spirits and souls would come alive.. This picture is what that means a place just to have fun and enjoy being your authentic self. Everyone wore their best!

This painting captures both the monotony and brutality of forced labor and the resilience and solidarity within the community. The density of figures and repetitive patterns convey a sense of ceaseless work and endurance.

For you Aunt Renay.
I’m constantly in awe of the grace and elegance that define the Ingram women. Your poise isn’t just about how you move. It’s a reflection of strength, kindness, and inner beauty.

I feel incredibly grateful that my wife is part of that magnificent lineage. And I’m ecstatic that our daughters have inherited that same innate grace. It feels like more than a legacy. It’s living proof that character and elegance can be passed from one generation to the next.

Thank you for setting such a beautiful example. Your presence anchors the heritage of love, strength, and refinement that continues to shape our family every day.

Life is filled with so many choices. They are usually broken down into two choices. We are filled with decision after decision. Just one choice after another. Should I go left or right? Up or down? Do I give up today for tomorrow? All these choices and the road ahead is always straight. All short cuts bring you right back to the road you tried to avoid. The man on the road is wearing both blue and red representing the choices he has not made yet. With dangers all around, we must always venture forward. Although he hasn’t arrived there yet, even the doors on the buildings have some choices laid out. 

     When Tamu & I came to the Chamber of commerce we were not sure which direction to go. It felt like we were in a dessert. Uncertainty is a danger of its own. We met Nancy Dudchik and she smiled at us and has been nothing short of a blessing for us and our business. Nancy is always available to help and to assist us. Nancy has been our Daisy in the desert.  

This painting is both a tribute and a continuation to my father’s legacy. Drawing on the powerful imagery that defined my father’s work, the piece revisits the cotton fields—not just as sites of oppression, but as enduring symbols of memory, labor, and survival. Through bold figures and vibrant storytelling, I aimed to honor the voices of the past while asserting my own perspective, bridging generations through art and shared history.

My father wanted his story to be told after his passing and he wanted people to know he still felt trapped in a lot of ways. He felt like those chains were still on him. That he was never really free because he was haunted by his memories and his dreams. He wanted his suffering to have meaning, he wanted his work to continue. 

     Knowledge flows like a river and cotton fields tend to not have rivers flowing through them. Like time if you do go with the flow you can be swept away with regret and wishing for things to change. Passing on and handing down is the only way we keep from repeating the past and it is the only way we have culture. Until we can truly pass down knowledge, we will never have a culture. We will always be wearing these shackles.

There is so much to do during the day. Chores from childhood become responsibilities as adults. Taking time for yourself, especially as a nurturer feels selfish at times. But it is necessary to reenergize and get through life. When we do take that time for ourselves, we can draw so much energy from things around us, if we just take the time to listen. We can draw energy from the birds in the trees, the flowers and the thin natural air. Diane does so much during the course of her day. I hope she sees this and it reminds her to take a little bit of time for herself. My wife's calm spirit and demeanor is owed to this woman. She is always giving and never asking. For you Diane, the Queen of Hearts.

Owned by Binta Reid of Costa Rica, Central America

In Paradise, But Still Chained presents a striking contrast between beauty and confinement. Beneath a bright sun, drifting clouds, and a lush green landscape, two raised fists remain bound in cuffs, divided by a flowing river. The painting speaks to the tension between freedom and restraint, reminding viewers that even in places of peace and abundance, unseen chains can still exist. Through bold color and symbolic imagery, the work reflects resilience, awareness, and the ongoing struggle for true liberation.