Despite her successful career, the late Trinidadian-Canadian painter Denyse Thomasos remains sorely underdiscussed in academic literature. To rectify this fap, this paper takes a comprehensive close reading of Thomasos' monumental abstractions of the city, the prison, and the slave ship, as well as a mysterious series of untitled final works. Drawing on physics, Black Canadian literature, decolonial poetics, and spatial theory, I posit that Thomasos' abstractions are intensely affective because they wield space and time as aesthetic and conceptual means of articulating an inarticulable experience of being Black in Canada. In doing so, I conceptualize twin theories of "state spacetime" and "diasporic spacetime" as broader analytical frameworks for reading Black diasporic artistic production as a gravity-bending force within the capitalist, white supremacist rhythms of the state.