Explore art through my experiences in agriculture.

A representation of Mother Nature eating one of the birds that eat the dead, focusing on current the transformation of the climate. - Eating Crow

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Eating Crow | 36 × 11.75 in.| Oil | Selected, Third Annual Root 2 Fruit Festival, Philadelphia, 2026

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Art Collection

A dining room with a rustic wooden table set with turquoise and yellow dishes, surrounded by mismatched colorful chairs. The walls are painted in shades of orange and yellow, decorated with artwork, a woven wall hanging, and a circular mirror. A large window with curtains lets in natural light, and there are plants and vases on a sideboard in the background.

Acrylic & Oil

Bird Brain

This is a self portrait, that symbolic explores how burn out as an agricultural attorney along with years of exploitation wears one down to bare bone at times feeling as though you are surrounded only by vultures and crows. A contemplative exploration of my experiences resilience, and imagination, where birds, weathered signposts, and branching forms emerge from the mind, symbolizing the enduring connection between nature, identity, and human thought. Dimension: 12×24

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Colorful living room with orange walls, a pink armchair with a rainbow striped throw, a wooden sideboard with a vibrant painting, a large green plant, and a multicolored area rug.

Acrylic & Oil

Queenie

Queenie draws inspiration from the agricultural legacy of African Queen Mothers, particularly the Asante women of present-day Ghana, whose authority was deeply connected to land, inheritance, and cultivation. Within Asante society, land was tied to matriarchal lineage, while women played essential roles in cultivating crops such as yams, plantains, and oil palm. Additionally, it represents the women farmers in Sierra Leone, I have been supporting through my non-profit since 2019.

Size: 16 × 20 × 1.5 in.

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A woman sitting at a wooden desk working on an Apple iMac computer, in a colorful room with a blue wall, framed artwork including a large portrait of a woman with earrings, a window with yellow curtains, a blue and yellow patterned lamp, and a shelf with books and potted plants.

Acrylic & Oil

Sunday Blues

Sunday Blues uses layered strokes of fiery red, orange, and subtle darker tones to explore the contradiction between outward energy and inward melancholy. Restless emotional of women farm workers. Size: 16 × 20 × 1.5 in.

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Painting of a woman with a black headscarf and a blue scarf, signed Jillian H.

“Spring of 2040”

Size: 16 × 20 × 1.5 in., Acrylic

Abstract landscape painting depicting mountains, trees, and a colorful sky with shades of purple, yellow, blue, and pink. Signed by J. Tishaw in the bottom right corner.

Last of the Snow Caps

Size: 16 × 20 × 1.5 in., Acrylic

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Acrylic

Winter Hat

A contemplative contemporary portrait exploring vulnerability, resilience, and quiet introspection. Represent Women landowners who only own on paper to secure funding for their husband or male family members. Through expressive brushwork and subtle emotion, the work captures the universal search for hope, identity, and human connection.

Size: 16 × 20 × 1.5 in.

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Additional Pieces

A painting of a blue sky with white clouds over a brown and green landscape with mountains.

Tinder Box Blues

Size: 16 × 20 × 1.5 in., Acrylic

Lisa Acrylic, Pen, Pencil 16×20

Lisa examines manufactured rivalry, professional envy, and the quiet obsession that can exist beneath the appearance of ambition. The work explores what happens when admiration becomes imitation and another person’s progress becomes something to monitor, mirror, and compete against. Lisa, reflects the irony of manufactured rivalry: while one person is focused on creating and moving forward, the other remains consumed by watching them climb.

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