As a child, my mother and I would find and refurbish things like wooden chairs and tables. She taught me how to paint walls, how to sand and stain wood, how to sew, and cut up jeans to make pillows for the couch. After she passed I entered college and began taking art classes as both a coping mechanism and a process of analyzing. Since then I’ve found myself continually returning to these same processes of finding and creating objects to appropriate outside of their intended use. Looking back, I see the thread that reaches from this practice of repurposing into the study of sculpture as an undergraduate and eventually toward the fabrication and exploitation of textiles as a practicing artist.

The majority of my current work involves actively seeking out or editing objects and textiles, often those which have been scavenged or discarded. I gravitate towards these media because they have an inherent history that is attached to where they came from, who used them, and how they were used. They are linked to the process of becoming: from what they were to what they will be. These materials are underscored with humanness. As such, the repetition, care, and specificity of construction within theses objects or materials allows me to become an intermediary for people and their experiences.

Tending towards subtlety, my work leans heavily on materiality, process, and visual associations to illicit an intimate correspondence that is both suggested and universal. I rely on abstracted, obscure, and sometimes numerical data in my technical construction to investigate these spaces through processes of layering and unraveling, often utilizing a craft vernacular in conjunction with lo-fi technology to compose work that engages culture and tradition with cognitive processes such as memory, emotion, or the experience of time.

A paint-hardened textile interacts with and reflects the softness of a tufted bush. A tablecloth deconstructed thread-by-thread sags and mourns gracefully. A weaving haphazardly interjects a knitted surface. A proof of experience receipt image abstracts and fades. A soft likeness of an ancestral jug spills.