Adama Delphine Fawundu's practice begins in Crown Heights. It begins with a parade, a mother newly arrived from Sierra Leone, a child at hip height surrounded by calypso and bodies moving in rhythm — an early education in the African Diaspora before she had language for it. That formation never left. She still lives in the community that shaped her, and the layers of that rootedness — Caribbean, West African, indigenous Lenape — run through everything she makes.

Her methodology is called Kpoto Patchwok: a practice of gathering and stitching together fragments of material symbolic of memory, spirituality, resilience, landscape, and lived experience. Past, present, and future are brought into conversation. The body is the primary medium — a vessel of ancestral intelligence, love, and connectivity. She has planted her feet in the rivers, oceans, and soil of the Gullah Geechee sea islands, Bahia, and Malaga Island, Maine, feeling the stories carried through wind and earth.

Her commitment is to the unveiling of histories that open doors rather than close them — stories of refuge, self-determination, and new realities built within and against colonial chaos. Everything is everything. She works in service of the collective good.