Artist Statement

My work investigates memory, lineage, and material transformation through fiber, printmaking, and mixed media. Drawing from archaeological fragments, mythic archetypes, and domestic processes, I create objects that operate as contemporary artifacts—works that sit between ritual object, relic, and image. Across my practice, figures, vessels, and landscapes emerge through layering, erosion, and repetition, reflecting how histories are constructed, obscured, and reactivated over time. Material choice is foundational to my methodology. Wool, paper, ink, thread, and natural fibers are selected for their cultural and labor histories as much as their physical properties. Processes such as felting, weaving, monoprinting, and image transfer allow for a controlled unpredictability, where material resistance becomes an active collaborator. Surfaces retain evidence of touch, pressure, and duration, emphasizing process as both concept and record. Much of my work references goddess forms, reliquaries, and liminal spaces, using the feminine body not as representation but as structure—an organizing presence tied to land, cycles, and endurance. These figures function as symbolic anchors rather than narratives, collapsing historical and contemporary visual languages into a single field. The work invites slow looking and physical proximity, asking viewers to encounter each piece as something excavated rather than illustrated. My studio practice is research-driven and iterative, relying on sustained access to space for material experimentation, series development, and large-format fiber work. A dedicated studio environment supports the accumulation of process, tools, and in-progress works that are essential to the depth and continuity of my practice. Ultimately, my work seeks to leave behind traces—objects that hold memory through material integrity, repetition, and care, and that continue to gather meaning over time.