My artistic practice engages in the slow, tactile processes of traditional craft and fiber to form intimate and explorative relationships with materials over protracted lengths of dedicated time and intention, through which I explore interweaving threads of time, materiality, memory and value in our contemporary context. My work leans into blurring the lines between craft and contemporary art and seeks to corrupt the loadbearing columns that uphold our inherited hierarchy of value, while unpacking and deconstructing notions of “women’s work”.

I am interested in the ways in which made materials and technologies are reshaping our relationships to memory and my work probes at the meaning and role of tradition and ritual in the TikTok era. Similarly fascinated by the prospective evolutional arcs of made materials in geologic time, my practice often imagines the spawn of adaptive material relationships and the chimeric ecologies of a post-anthropocentric world, which manifest as bizarre, yet appealing, juxtapositions of material and form, suggestive of a strange naturally occurring convergence of traditional craft processes and synthetic materials over time.

Examining our relationship with objects as embodied vessels for meaning, connection, and identity as we come to terms with and cope with our knowledge of death, I explore the materiality of inheritance, heritage, and lineage in my creative research: All that we pass on, all that is left behind, and all that remains. Grappling with this in my work, I confront my multigenerational impulse to preserve and save—to hoard, and slowly come to terms with being the end of my family line.