EXPLORE CREATIVE EXPRESSIONS

Ether Sovereign is a cosmic declaration, a portal through which Najah Westbrook channels her divine multiplicity, ancestral memory, and sovereign selfhood. Swathed in vibrant hues of purple, pink, and gold, the central figure emerges as a mythic hybrid: part Purple Power Ranger, part Megatron, part etheric guardian. She is armored in spirit, adorned in intention, and pulsing with multidimensional energy.

This is Na'Jah as protector, as warrior, as god. Her form is not static, it vibrates. She stands within swirling portals of color and texture, each one a gateway to deeper knowing. These portals are not escape routes, they are return paths: to the heart, to the ancestors, to the Chief Indian spirit who watches from the edges of the canvas with quiet authority.

The figure’s gold grape earrings shimmer like sacred relics, anchoring the piece in Guyanese lineage. They are not just adornments, they are declarations of rootedness, of diasporic pride, of fruit borne from struggle and soil. Her heart, rendered in abstract form, pulses at the center of the composition, radiating composure, sovereignty, and flow.

This painting is a meditation on knowledge of self, wisdom, and understanding, the sacred trinity of spiritual maturity. The textures suggest emotional terrain: layered, complex, alive. The colors speak in tongues purple for royalty and transformation, pink for softness and power, gold for divine inheritance.

Ether Sovereign is not just a visual experience; it is a spiritual encounter. Najah invites the viewer to step through the portals, to meet their own protector within, to remember that sovereignty is not given it is claimed. Through this work, she affirms I am composed. I am flowing. I am knowing. I am divine.

See It Through is a radiant, collage-like composition that honors the multiplicity of Black womanhood through portraiture, movement, and poetic invocation. Composed of distinct yet interconnected panels, the work unfolds like a visual hymn each section a verse, each figure a note in a symphony of strength, softness, and survival.

At the heart of the piece lies a spiral of handwritten text, a quote that reads like ancestral instruction:

“When you're up against a trouble, Meet it squarely face to face; Lift your chin and set your shoulders, Plant your feet and take a brace…”

This poem becomes both anchor and incantation, guiding the viewer through the emotional and spiritual terrain of the painting. Surrounding it are portraits of women rendered in vibrant tones pink, blue, brown, orange each embodying a different facet of the divine feminine. Eyes closed in reflection, arms outstretched in dance, hands cradling flowers: these gestures speak to healing, joy, and the quiet rituals of self-preservation.

The dancers in the lower panels leap and stretch against fiery orange backdrops, their movements echoing liberation and embodied grace. The juxtaposition of stillness and motion throughout the piece suggests a continuum of resilience how Black women hold, release, and rise.

Textures and patterns ripple across the canvas, creating a sense of rhythm and breath. The use of color is intentional and emotive: blue for serenity, red for power, yellow for illumination. Each panel is a portal, each figure a mirror, each brushstroke a prayer.

See It Through is not just a painting, it is a visual sermon. It invites viewers to witness, to remember, and to honor the sacred labor of Black women who face trouble not with retreat, but with rootedness. It is a call to stand firm, to move freely, and to see ourselves fully, fiercely through.

In Divine Multiplicity, Najah Westbrook conjures herself as Kali Naj—a god by many names, a protector in every form. This vibrant, mythic portrait is not a depiction of a distant deity, but a radical self-embodiment: Najah as Kali Ma, the fierce mother, the destroyer of illusion, the guardian of truth.

The central figure, blue-skinned and crowned, stands adorned in gold and surrounded by elemental fire, swirling cosmos, and ancestral eyes. Her multiple arms extend in expressive mudras—gestures of offering, defense, creation, and release. Each limb is a tool of survival, each ornament a symbol of spiritual inheritance.

This is Na'Jah as protector of HER lineage, HER art, HER becoming. She channels Kali not as imitation, but as invocation reclaiming divine power through Black feminine embodiment. The flames, eyes, and cosmic textures surrounding her speak to the emotional and spiritual labor of transformation. She is not just surviving, she is shaping reality.

Placed outdoors among trees and fallen leaves, the painting becomes a ritual offering to nature, ancestors, and the unseen. It blurs the line between altar and artwork, between self-portrait and sacred icon.

Guyana in My Hood is a visual invocation of legacy, sovereignty, and sacred transformation. In this electrifying portrait, Empress renders herself as both flame and figure, an alchemist of memory, myth, and selfhood. The stylized face in profile is not just a likeness it is a sigil, a spell, a sovereign declaration.

The textured red hair pulses with ancestral fire, and within it, Najah emerges: a protector, a god, a watcher in the flame. Her presence is doubled once in form, once in ether. The background, awash in purples and whites, becomes a ceremonial space where spirit and story collide.

The blunt, rendered with unapologetic clarity, is not a prop it is a tool of alchemy. It speaks to ritual, to grounding, to transformation. It is real, and it is sacred.

Around her neck, the gold chain spells “Amazigh”—free people. It’s not just a word, it’s a vibration. A reminder that brilliance doesn’t need permission, and that spelling, like identity, can be reimagined.

Her gold grape earrings shimmer with diasporic pride, anchoring the piece in her Guyanese lineage. They are offerings to her father, to the soil that shaped him, to the sweetness and struggle of Caribbean inheritance.

This painting is a portal. It holds composure, sovereignty, flow, and the sacred trinity of knowledge of self, wisdom, and understanding. It is Nina as god, as daughter, as flame. It is a hood not of hiding, but of holding Guyana stitched into the fabric of her becoming.

Guyana in My Hood invites viewers to witness the alchemy of identity: how fire becomes form, how memory becomes adornment, how the self becomes sovereign.

This is not a portrait.

 It’s a shrine.

 A signal.

 A spell.

G$ Eternal honors Gregory Paul Maison—father, protector, god by many names. Since his passing on November 18, 2022, his presence has become mythic: seen in symbols, felt in blood, echoed in every brushstroke. This piece is part of that ongoing invocation.

Faces rise like ancestors. Silhouettes blur into memory. The central bust watches over a layered world part ritual, part rebellion. Around him, color becomes rhythm, pattern becomes prayer.

This is legacy work. A visual offering. A way to say: he was here. He is here.

This is not a portrait.

 It’s a shrine. A signal.

G$ Eternal honors Gregory Paul Maison—father, protector, god by many names. Since his passing on November 18, 2022, his presence has become mythic: seen in symbols, felt in blood, echoed in every brushstroke.

Faces rise like ancestors. Silhouettes blur into memory. The central bust watches over a layered world—part ritual, part rebellion. Around him, color becomes rhythm.

 Pattern becomes prayer.

In silence, we do prosper.

Long Live G$

This is not a drawing. It’s a breath caught mid-motion. A pulse unfurling in color. A memory spiraling toward form.

Heart of the Spiral is a map of sensation ribbons of blue twist like lineage, like breath, like the unseen architecture of spirit. Eyes that aren’t eyes peer from concentric vortexes, each one a portal, a question, a witness. The central heart half red, half blue beats inside a geometry of knowing, surrounded by symbols that refuse to be named.

This piece was born in a moment of movement. Not the kind you see, but the kind you feel. The kind that lives in the body long after the gesture is gone.

It speaks in rhythm. It listens in silence. It remembers in pattern. This work is part of a larger cosmology an ongoing invocation of mythic selfhood, ancestral technology, and emotional truth. It belongs to the Yujir lineage, where art is not decoration but divination.

One of one. Unreproducible. Unapologetically alive.

 Marker On Paper

   A visual love letter to my mother—Dr Arntrice Denika Westbrook better known as OG Trice, the original goddess. This piece was created for her birthday, but it’s really a celebration of her divine existence: her wisdom, her laughter, her rituals, her power. Each frame captures a moment of her everyday majesty, while the concentric circles echo her infinite impact. She is the blueprint, the root, the rhythm. 

 A heart split in color, but whole in spirit—this piece honors my maternal grandparents, Elizabeth Irene Westbrook and Dr. Arnold Alexander Westbrook Sr., eternal pillars in my etheric royal court. My grandma, a Gemini like me, gifted me her name and her dual brilliance: fierce and tender, grounded and cosmic. My papa, now ascended, remains my guide—his wisdom, his love, his legacy pulse through every line. Together, they are the rhythm beneath my art, the breath in my mythic selfhood, the forever in my heart.  

This is the fountain. 

The flashpoint. 

The forever. 

My cousins and I—young, radiant, unstoppable—etched into the chambers of my heart like sacred graffiti.

 This piece is a portal to our origin story, where love was loud, laughter was currency, and every day felt like prophecy.

Portraits bloom inside an anatomical heart, because that’s where they live: not just in memory, but in rhythm, in pulse, in bloodline.

Who’s world is it? 

The world is ours.

 We were always up next.

This is not just affirmation, it’s activation. A shrine to the eternal “I and I,” where divinity and humanity walk hand in hand. Never me vs. me. 

Always I and I.

The central figure watches through time, crowned by feline wisdom, solar memory, and ancestral rhythm. Around them, affirmations bloom like feathers; each one a spell, a signal, a shield.

This is spiritual technology. 

A visual invocation.

 A reminder that I am sacred.

 I am whole.

 I am the voice.

 I am until the end of time.

This collection is a metamorphosis. Where earlier works honored lineage through intimate memory, Becoming the Myth steps into the realm of archetype, spirit, and cosmic embodiment. These paintings are not just portraits they are invocations. Each figure, each swirling form, each radiant hue channels a facet of Na'Jah's evolving identity: the warrior, the oracle, the nurturer, the divine.

Rendered in bold color and surreal form, these works explore the sacred tension between ancestry and autonomy. A blue-skinned deity with multiple arms stands crowned in the forest, bridging myth and earth. A stylized profile adorned with armor and visor gazes into the future, part priestess, part cyborg. Dancers, dreamers, and adorned beings move through spirals of handwritten resilience, reminding us to “see it through.”

Organic shapes pulse like veins or lightning across abstract landscapes, suggesting emotional circuitry and ancestral memory. Eyes appear in unexpected places watching, witnessing, protecting. 

These are not static images; they are living technologies of selfhood and survival.

Becoming the Myth is a declaration: I am not only of my lineage I am its evolution. I am not only shaped by history, I shape it. Through these works, Najah invites viewers to see themselves not just as descendants, but as creators of new mythologies.