The places that we consider home are containers that hold objects as well as inhabitants. What we collect often reflects who we are and how we live. Many personal collections embody the attempt to hold on to certain moments and places. However, the objects we collect, just like memories, are continually affected by time. Both memories and objects are subject to processes of immortalization, memorialization, recollection, and loss. Although the imagery and objects come from a personal place, they can connect with any person, any place, or any thing at any given time. Some memories are strong and vibrant and sometimes they are buried in our subconscious, faint, blurred and filled with gaps. Sometimes the work that I make is a means of remembering those gaps and other times I am filling those gaps with something new.

The liquid space of memory, influenced by time, place and experience forms the foundation of content for my work. As personal meaning and influences evolve as I age, the debris of the past lingers and with that are attempts to resolve new information and knowledge with what is imagined of the past. By merging aspects of lived experience, observations of daily life and fabricated scenarios, I make work that reflects broad experiences of life and memory.

I start preparing mentally to work way before I actually begin to do anything physical. I start with a clear idea of the concept and the overall look of the piece. Throughout the night, my mind begins the work and often new ideas form in my sleep, expanding on the original thought. While working in the studio I often experiment and test many different possibilities before discovering exactly how I want to build something. A lot of the time my final ideas don't come to me until I am searching for the right material and realize what would look best, how it would work, and where it should go.

My interests exist at the intersection of the body in domestic spaces, gradation of emotional intimacy, queer identity, family relations, cloaking trauma and much more. My practice is cross disciplinary consisting of sculpture, material studies, fibers, drawing, painting and mixed media works. I ask viewers to think critically about the day-to-day, shifting audience’s views from overlooked to over analytical. To take things at face value, without developing a deeply thoughtful process of rigorous examination, is to lead a shallow existence while denying one's own humanity. I like to think that my work is assisting in my endeavor to create a more accurate lexicon, and thus, more potent narratives of my own life.

The intention of my work is to build a complicated yet recognizable space in a similar way that a gothic cathedral or virtual reality does so. Focusing on subjects pertaining to childhood, home, and family. Domesticity is highlighted in the work as a means to reference longing for a space of comfort. I think about the function of objects, and place them in new contexts (i.e., a damaged wall with exposed studs, a lamp covered in stickers, a terrarium with no creatures inside, 3D printed replicas of deceased grandparents belongings, a bird bath filled with yarn). Working with the distinctions of these domestic functions, conceptualizing them literally or altering them in response to materiality to evoke feeling, time, or memory.

The momentum of my work is my need to share and communicate a common human experience. I talk, feel and hopefully touch, through art. I am an artist because I am alive. I pour myself entirely into the work until there is nothing left of me, but when I reappear I am in a sense reborn. I hope to my last day to have paint stained clothing, to be able to smell the peculiar smell of the chemicals and materials used, and for my eyes to see color that surrounds me, inside and out.