I could never dedicate myself to a single material or process.
Certain materials have come and gone with time. During my undergraduate years, I was exposed to anatomy, geometry and art theory. I still find myself looking for connections with the concerns of the larger art world. I am by no means isolated from the art world. I just figure, I need art more than the world needs art. Artistic processes which were introduced to me during my art education have helped me personalize any influence— reshape it, mock it, brutalize it, mess with the opposites and create works in my own terms: control and freedom. My artistic practice could be seen as a kind of diary writing: purgative, theatrical and multisensory.
I still find myself questioning the dominance of visual perception in fine art. Texture, touch, smell, taste and sound are essential in my work. The introduction of haptic perception through textured surfaces was initially a semi-conscious choice in my practice, but has developed into a conscious decision to always include two or more sensory modes in my works. These sense pairs are typically:
Sight | Touch
Sight | Smell | Taste
Sight | Hearing
In my works, I use a hybrid of traditional and non-traditional mediums and materials. These include found objects, sculptural fragments, latex, silicone, cotton, velvet, thread, flocking, pigments and resin. My techniques combine painting, drawing and printmaking practices beyond the confines of paper-based traditions.
My works are concerned with themes of displacement, chaos, homesickness, childhood, memory, feminism, sexuality and gender. Often, this content is explored from an autobiographical perspective. I use multisensory language to approach this confronting thematic material from an ‘Amor Fati’ philosophical position – reframing sensitive narratives as potentially beautiful, peculiar, or ironic.
Diaphonized Pimephales notatus in distillation glassware, 2016