I seek to reveal the unseen, the unspoken, the unfamiliar, the unknown, and the overlaying histories found in and around these intersections.
By calling attention to boundaries and barriers, both natural and man-made, social and political, and within public and private spaces - and through the examination of authentic representations of a time and its peoples and culture - I seek to reveal the unseen, the unspoken, the unfamiliar, the unknown, and the overlaying histories found in and around these intersections.
I am interested in the reclaiming and reframing of age old narratives, told from perspectives driven by conquest and colonization and centered on the commodification and consumption of a people and a place. I am particularly concerned with highlighting abuses of power, specifically against marginalized communities of color, and in bringing attention to teaching tools of assimilation and erasure that have contributed to oppression and disenfranchisement through exploitation and extraction.
Most importantly, I am interested in the continual development of a research-based practice from which I can obtain information, document connections, and create from patterns of alignment. It is my hope that through this work I may contribute to conversations that are central to collective healing through social change.
Through the use of unconventional processes and non traditional materials whose attributes embody affects of architectural elements and geometrical forms, I aim to evoke an ambiguity relating to the physical presence of depth in space and time, while simultaneously conveying an emotive emptiness echoing the elusiveness of perception and existence in aspects of the natural world. By incorporating embedded language, in the form of signs, symbols, and text; a code of communication is assembled and the visual vocabulary may be translated as a language in divulging thoughts, surrounding interactions with the climate of our natural, built and social environment and as a reflection of the conceptual qualities of our mind and memories, which are shaped by the structure of our experiences and the state of our emotional ecosystem.
The practice of selecting, manipulating, and modifying objects is a response to my fascination with the multitude of senses and the way in which tactile interactions often and intimately, shape the physical properties and spiritual realities of the materials we handle. This process demonstrates my interest in concepts concerning perception and existence and the substance and essence of objects, as well as their unique personal and social history. The designation and relocation of these objects in my work, along with the exploration and examination of select subject matter, through reading and research; is a direct action intending to convey an assembled code of communication. The visual vocabulary may be translated as a language in divulging thoughts, surrounding ideas that consider the climate of our natural, built and social environment and as a reflection of the conceptual qualities of our mind and memories, which are shaped by the structure of our experiences and the state of our emotional ecosystems.