Banja Luka 18" x 24" acrylic on paper 1995.

This painting addressed the concentration camps set up by the Yugoslavian army during the Bosnian War.

During the 1990s, the city underwent considerable changes when the Bosnian War broke out. Upon the declaration of Bosnian-Herzegovinian independence and the establishment of the Republika Srpska, Banja Luka became the de facto centre of the entity's politics.

The Manjaca Concentration Camp  was created on the mountain Manjača, near Banja Luka and was fully operational during the Bosnian War, which lasted from 1992 to 1995. It was founded by the Yugoslav National Army (JNA) and the authorities of the Republika Srpska and was used to confine thousands of male prisoners of Croat and Bosnian Muslim ethnicity. It is estimated that between 4,500 and 6,000 non-Serbs primarily from Sanski Most and Banja Luka passed through the camp. The Manjača camp was shut down under international pressure in late 1993 but was reopened in October 1995. When the camp was captured by the Croatian Army in 1995, some 85 corpses were discovered, associated with the killings at the camp.

An estimated 40,000 Serbs from Croatia and Muslim-dominated ares of Bosnia took refuge in Banja Luka. Nearly all of Banja Luka's Croats and Muslims were expelled during the war and all of the city's 16 mosques were destroyed. A court ruling resulted in the authorities of Banja Luka having to pay $42 million for the destruction of the mosques. However, the Banja Luka district court later overturned the ruling stating that the claims had exceeded a three-year statute of limitations. The Bosniak community vowed to appeal against the decision.

In 2001, several thousand Serb nationalists attacked a group of Muslims during a ceremony marking the reconstruction of the historic 16th-century Ferhadija mosque. There were indications of police collaboration. Fourteen Bosnian Serb nationalists were jailed for starting the riots.

Wangu Wamwere 18 x 24 acrylic on paper. 1995

Monica Wangu Wamwere (a.k.a. Mama Koigi), mother of Kenyan human rights activist and political prisoner Koigi wa Wamwere. She participated (along with Noble Laureate Wangari Maathai) in the 1992 Mothers' Hunger Strike to release political prisoners and is a member of the Release Political Prisoners pressure group.
Paris Has Burned 18" x 24" acrylic on paper 1995

The film Paris Is Burning 1990 and a subsequent article in the New York Times about what had happened to the people in the film inspired this painting.

The film explores the elaborately-structured Ball competitions in which contestants, adhering to a very specific category or theme, must "walk" (much like a fashion model's runway) and subsequently be judged on criteria including the "realness" of their drag, the beauty of their clothing and their dancing ability.
Most of the film alternates between footage of balls and interviews with prominent members of the scene, including Pepper LaBeija, Dorian Corey, Anji Xtravaganza, and Willi Ninja. Many of the contestants vying for trophies are representatives of "Houses" (in the fashion sense, such as "House of Chanel") that serve as intentional families, social groups, and performance teams. Houses and ball contestants who consistently won in their walks eventually earned a "legendary" status.
The film also documents the origins of "voguing", a dance style in which competing ball-walkers freeze and "pose" in glamorous positions (as if being photographed for the cover of Vogue). Pop star Malcolm McLaren would, two years before Paris Is Burning was completed, bring the phenomenon to the mainstream with his song "Deep In Vogue", which directly referenced many of the stars of Paris Is Burning including Pepper Labeija and featured dancers from the film including Willi Ninja. One year after this, Madonna released her number one song Vogue, bringing further attention to the dancing style.