ABOUT

STATEMENT

My creative process consists of swerving around and tumbling through chapters of making, puttering, listing, reading, waiting, writing, collecting, organizing, feeling, flailing, failing, arranging, questioning, pacing, noticing, wondering, remembering, and other things.

I create objects as a way to explore and understand the world around me. Small, familiar forms often serve as stand-ins for the body, emotions, and abstract concepts, allowing me to work through their relationships in tactile ways. Making objects lets me lock my findings into permanent form, though I recognize that an object will only ever nudge sharp memories back up into fleeting feelings—always quick to soften. In giving form to feelings and memories I transform the intangible into something physical.

The works themselves play with desire and hesitation, appearing inviting—even edible. Yet sharp, fragile, or precarious elements interrupt the impulse, holding the viewer at a distance. That friction between attraction and repulsion, sweetness and risk mirrors the contradictions I find in memory, longing, and vulnerability. 

By contextualizing the work between abstraction and familiarity, I use the almost to encourage the viewer to create their own understanding of the relationships situated within the work. I’m curious about the tension in moments on the edge—just before everything perfect dissolves, or crumbles, or gets swept away. My color narrative reflects this tension: brightly flushed, saturated colors appear alongside a parallel palette of washed-out hues, like a forgotten plastic toy left out in the sun, slowly bleached of its color. I use many methods to tack things down, to hold onto moments, and to also release my grip, leaving space for the work and the viewer to return again and again, to a familiar state of tension and possibility.