Kim Dacres’ sculptural portraits are acts of transformation—discarded tires and bicycle parts become tender monuments to the women who shape her world. In Patrice and Revonda, a couple and community pillars, Dacres captures both individuality and connection. Patrice’s sculpture honors her deep Gullah roots stretching from South Carolina to Florida, while Revonda’s commemorates her work preserving Black history on Bruce Street in Lithonia, Georgia.

Across her practice, Dacres explores the tension and power within Black women’s self-presentation—the ways hair, adornment, and style become both armor and language. Her use of recycled rubber underscores resilience: a material tied to labor, endurance, and movement, repurposed here into forms that radiate joy and strength.

As with Dalí’s The God of the Bay of Roses, these works channel mythic presence and transformation. But where Dalí envisioned divine creation through fractured bodies, Dacres grounds transcendence in lived experience—crafting gods from the everyday, and celebrating Black queer love and the beauty of becoming through one another.