I’m an interdisciplinary artist. I work with sculptures, drawing, and poetry- individually and in combination. As a queer person, first-generation American, and person with PTSD, I have spent my life flowing between things. Liminality is my lived experience and central in how I approach artmaking.

The sculptures are temporary structures made of organic matter, reclaimed materials, and fiber. They change over time; sometimes including a period of rot. I reutilized materials as components in the work as an intentional act of gentleness towards endings and because patina and staining are a beautiful record of what has occurred. It emphasizes time and memory within a piece. I often use detritus from my life such as tea I enjoyed with a friend or spell ingredients from witchcraft and rituals. I also see re-utilizing objects as a political act. It is anti-capitalist and also incorporates social association and symbology within a piece because we have relationships with the objects. Some of the pieces use a traditional manner of drawing and some use handwriting or sewing as forms of drawing. Writing something by hand is a great intimacy in our modern age- a way of drawing the shape of a thing through language in a way that only one person can. Sewing is a form of drawing by the linear application of thread. I use all three forms of drawing in my work. 

A few examples: It Never Really Unfurls is an interdisciplinary piece. It is a physical sculpture with a poem handwritten on an eggshell, snapped, and nestled in the center of the piece. The wax circle pieces use wax from witchcraft rituals that I melted and formed into circles. Every teabag was first brewed and enjoyed as a beverage. The palette pieces utilize oil paint palettes with patterns drawn into them by sewing machine. They hang freely on the wall so the threads can move in the space as viewers affect the air around the pieces.