I was admitted to a LLM offered by the Queen Mary’s Centre for Commercial Law Studies in partnership with the Institute of Art and Law. Based in heart of London, and a short walk from some of the UK’s leading art institutions, the program explores legal issues surrounding art, cultural heritage and cultural objects. I will begin the program in September 2026, but I must submit a $2,780.00 deposit to secure my seat by May 22, 2025. Below is my personal statement explaining why I'm pursing this degree.

Thank you for your consideration and if you’re looking for an art lawyer in the future, please think of me.

No matter who we are or where we come from, we all have our own journey. Mine began in Aurora, Colorado, United States of America. I lived in a rural area where you had to drive a truck to get anywhere. At five o’clock, every morning, my mom drove my sister and I forty-five minutes north to another woman’s house. She slipped the woman some money as we retreated to the couch for a nap. Once the sun rose, we ate breakfast and continued our journey to school.

I attended predominantly white schools throughout K-12. In elementary school, I quickly learned that my ancestral heritage was one of slavery, cotton, and uneducated savages—and during Black History Month, the education system placed special emphasis on the Civil Rights Movement. Year round, we discussed the genius of Einstein, the emergence of purple in European monarchies, and the syncopated rhythms by Mozart. When I returned home, I wondered, where were the Black people? Unable to fully articulate the emotions, I sat with discomfort.

I went to law school to become a civil rights attorney. After George Floyd died with a police officer’s knee on his neck in May 2020, I doubled down on my work. While in law school, I litigated on behalf of a widow whose husband was killed by the police. At the American Civil Liberties Union, I advocated for indigent clients and undocumented persons. Exclusively advocating for people battling racism and classism started to weigh heavy on my heart. But what looked like a dark patch in my quest for success was the universe directing me in a new direction.

Clarity

My shift into private practice was a blur. Partly because I just moved to Portland, Oregon with no friends or family and partly because the work was challenging. I became versatile, able to advise school districts and to convince judges to rule in my client’s favor. I didn’t overthink the magnitude of my work, I simply focused on honing skills to serve as a high-quality attorney.

As time went on, I was drawn to the art community. Right in front of me were testaments to the soul and boundless talent of Black creativity. I discovered Black artists, collectors, gallery owners, cultural state institutions, and private organizations dedicated to leveraging Black intellectual property. A new sense of civil rights began to form.

Possibilities

As a young Black female lawyer, I am considering what I want my career to look like and how to blend my passions for civil rights and the art community. What sort of power did I have to participate in the intersection of these two practice areas? I decided my first year of practice was for exploration. Every day, with every single hour of research, I was left speechless. I learned about the basic tenants of intellectual property and discovered art law.

With a bout of courage, I connected with the Oregon Volunteer Lawyers for the Arts. My first client was a Black owned nonprofit that maintained Oregon’s only full-service community archive of Black musical culture and legacy. In our first meeting, the clients’ eyes lit up with surprise. “We’re glad to see you here, we need you.” That was a life-changing statement for me. In the United States, only 5% of attorneys are Black; in Oregon a mere 2%. In the world of intellectual property and art law, there is undoubtedly less. Nevertheless, at that meeting, my skillset was needed.

Power

During my year of exploration, I learned art law could be divided into three buckets. First, legal issues arising in the commercial art market; second, questions involving intellectual property; and finally, issues addressing restitution and repatriation. I’m attracted to this LLM program because it covers these subjects, provides opportunity to learn from practitioners, and develop relationships in the industry. Inherently, graduates will support innovation and creativity that transcends past race, class, and nationality. That is power. I believe the longevity of art is in legacy, and legacy is built through respect, attention, and intellectual investment. As the art industry grabbles with diversity and market shifts, I want to be part of the movement.