
In Shopaholic, Sekou Frye constructs a sharp and layered critique of consumerism through an installation that is both familiar and surreal. Multiple found monitors are stacked within a monochrome shopping cart—once a symbol of convenience, now a vessel of cultural excess.

Each screen plays looping, multi-channel video footage of discarded material possessions: shoes, electronics, toys, clothing—objects once desired, now forgotten.

The shopping cart, stripped of its color and individuality, becomes a ghostly icon of capitalist consumption, while the flickering monitors mimic the chaotic rhythm of advertisements, resale markets, and social media hauls.

The installation functions as both a monument to what we throw away and a meditation on the deeper costs of consumer desire, particularly within a racialized economy of visibility and aspiration. found monitors are stacked within a monochrome shopping cart—once a symbol of convenience, now a vessel of cultural excess.



In Doomscrolling, multimedia artist Sekou Frye transforms the habitual act of scrolling into a monumental reflection on identity, surveillance, and cultural saturation. Known for his exploration of identity and visual signifiers, Frye presents a sculptural installation centered on a 32-inch monitor, modified to resemble an oversized smartphone.

This glowing screen is held in the palm of a large hand, meticulously constructed from found wood and layered with red, white, and blue fabrics. The hand’s patchwork of materials references American cultural ideals—both mythic and fractured—while also evoking the labor, struggle, and weight of history embedded in the body politic. Within this symbolic grip, the smartphone endlessly streams a cura

Doomscrolling is a video installation that monumentalizes the compulsive act of consuming digital media, exploring the intersections of technology, culture, and identity. At its center, a 32-inch monitor—reshaped to resemble an oversized smartphone—glows with an endless loop of algorithmically curated content. The device is held in the palm of a large sculptural hand, constructed from found wood




Each of these screens will encompass the tightly framed faces of the male and female subjects. The tIt will be a physical depiction of the deconstruction of the documentary format, and a critique of interpersonal relationship language dynamics between men and women.

It will include the use of screens, video playback devices and projectors that require power. There will be two smaller, repurposed monitors that have been physically deconstructed with removed covers and exposed internal workings.

Each of these screens will encompass the tightly framed faces of the male and female subjects. The third monitor will be placed in the center and will show the intricacies of the interactions between the man and woman placed on the edges in the two complementing monitors.

The execution of this experiment is meant to explore the intricacies of the non-verbal communication signifiers while simultaneously creating a new interactive and more engaging format for experiencing documentary dialogue. The video installation project will be entitled the Beholder.


Explaining visual signifiers to students at a Portsmouth Middle School
NSU MFA Cohort conducts art workshops at the Chrysler Museum in Norfolk VA during their annual family day event.
When will we see? Spoken word by Crystal Sessoms
A short film about perception, identity, and a tragic trend.