I am honest, unconventional and passionate. I stand up to injustice and am a powerful advocate for the causes in which I believe. I have incorporated these attributes into my work through the use of text, tape, color and female figures with the goal of provoking thought and inspiring dialog.

Honesty plays an integral role in both my life and my artistic practice. In striving to build an accessible narrative, I have incorporated text into my work as a straightforward and comprehensible method of communication. The text is limited to succinct phrases and single words, alternating between commercial, standardized digital fonts and printed handwriting, which evokes a more physical and raw response. Undemanding in its nature, the text invites the audience into the piece, establishing a comfortable foundation upon which in-depth individualized interpretation can begin.

The repurposing of unconventional art materials further aids in the process of building an accessible narrative by drawing on the satisfying nature of familiarity and inviting novel exploration into veteran materials. Traditionally, duct tape is thought of as a rudimentary, industrial material; disposable and impermanent, duct tape is defined by its utility. In bringing this material into an art context, it is granted newfound agency, particularly when in the form of architectural installations. By employing and manipulating physical tension, the flat, lightweight and structurally weak tape feels powerful and sturdy in a three dimensional field, manufacturing an illusion of strength and suggesting value despite the ordinariness of the material. The tape’s functionality is replaced by its visual qualities, thereby redefining its essence as aesthetic and transforming the material’s established conventions.

In embracing the aesthetic, my work adopts the passion and intensity of a monochromatic pallet. The polarizing juxtaposition between pure, innocent white and powerful, sexual black generates an absolute and familiar contrast that can then be disrupted with the addition of supplementary colors. In my work, these disruptions tend to take the form of gold or red. Cross-culturally, gold is indicative of significance; using gold to disturb the established harmony illuminates the work as ornamental and sacred. Red, on the other hand, interjects as a powerful burst of hot energy. Evoking love, danger, blood and anger, red is referential to the human experience and the physical body. These disruptions are loaded with a passionate vibrancy which act in fierce opposition to the established norm.

With the goal of highlighting and exposing the institutional injustices that perpetuate gender inequality, hyper-feminine and hyper-sexualized nude women frequently appear in my work. These nude women are not liberated; rather, they are submissive and censored, as their bodies are simultaneously being exploited and policed. Objectified, stripped of their autonomy and set in a two dimensional frame, these faceless and featureless women lack identities and are reduced exclusively to the physical bodies over which they lack authority. Paired with familiar markers of capitalism, their commodification and exploitation requires the viewer to confront this injustice, demanding reflection on issues such as femininity, gender equality and body autonomy.