I am fixated on meaning-making, how we understand or make sense of life events, relationships, and the self. Rooted in biography and history, I am interested in the conditions that have attempted to erase the humanity of racialized, indigenous, and gendered people through the production of hypervisibility and consequently invisibility. Through the research of materials, family archives, and critical theory, my studio practice is deeply rooted in the necessity for interdisciplinary making to address the expansiveness of the ways I process the world and my position within it.
Whether I am aware or not, my social identity has been at the center of my consciousness. Early ideas of family, gender, beauty, race and class were propagated by a westernized amalgamation of art, history, photography, and popular culture. These images highlighted the "otherness" I felt, being too much because of not belonging. The interplay between conflicting modes of presence influenced how I saw myself and those around me and impacted how I rationalized and responded to my surrounding world.
It is in these presentations and within the social constructs that I inherited and embody that led me to explore the contradictions and intersections offered by invisibility and hypervisibility. Through the use of materials; from wood and stone to magazines, found objects, plexiglass, and unmixed paint; images inspired by personal family archives and biographical stories of resilience and fatigue, hope and despair; and manipulation of the light through the use of black paint and lighting objects I attempt to state a positionality. These combinations of objects, paintings, and installations demonstrate the throughlines between the past constructions and present conditions. They also seek for reconciliation of the marginalized individual's State of being and Identity.