Still life with okra, corn, and tomato (2022) brings together the textures of archival inkjet fabric collage on canvas in a composition that quietly interrogates how food, heritage, and visual culture intersect. David Alekhuogie positions familiar agricultural subjects, vegetables carrying deep roots in West African, Southern American, and diasporic foodways, as the foundation for a meditation on identity and material history. At 152.4 × 190.5 cm, the work commands significant physical presence, and the 5.1 cm depth lends it an object-like authority that pushes beyond conventional picture-plane flatness. The collaged fabric introduces tactile complexity, layering photographic reproduction with the haptic qualities of textile to create a surface that rewards close inspection. Alekhuogie consistently mines the still life genre as a site of cultural inquiry, recasting a form historically associated with European painting traditions through subjects that speak to Black American and African experience. The choice of okra, corn, and tomato is deliberate and loaded, each crop carrying agricultural, economic, and symbolic weight tied to histories of labor, migration, and survival. The archival inkjet process roots the work in photographic practice while the collage methodology opens questions about fragmentation, assembly, and the construction of meaning. This synthesis of media reflects a broader concern in Alekhuogie's practice with how images are made, circulated, and received across different communities and contexts. Available through Assembly and hand-signed by the artist, this work represents a significant opportunity to acquire a substantial canvas from a pivotal moment in Alekhuogie's ongoing investigation of still life as critical form. The absence of a frame leaves open the possibility of varied presentation approaches, allowing the collector to engage directly with the raw materiality of the fabric surface. Works of this scale and conceptual ambition from Alekhuogie occupy a compelling position within contemporary conversations about photography, diaspora, and the politics of representation.