My works are sites of examination where cultural signifiers meet private gestures. Working in a hybrid mode that merges drawing, painting, sculpture, and installation, I build artworks through layered processes that employ unconventional materials and mark-making tools, often addressing my own body and confronting its limitations. Painting into wet clay and casting those surfaces into gypsum allows me to generate forms that deliberately obscure their origins. The original clay painting must be destroyed in order to produce the negative. My processes often function like a game of telephone: ideas of origin, truth, and reality become distorted and destabilized. I am interested in how intentionally ambiguous information can trigger biases and make viewers aware of their own subject positions.
In much of my work, surfaces seduce and unsettle by suggesting terrains or recognizable forms—promising legibility that continually slips away. I build up my paintings with different mediums, excavate them, and sand them down. These pieces remain flat yet evoke a sense of topography. The viewer confronts the gap between a distorted sensory experience and the desire for a framework that imposes meaning and order.
A significant part of my research examines historical events that governments have attempted to conceal, distort, or erase from collective awareness. Bureaucratic language—at once archival and obfuscating—serves as both material and metaphor. Carbon paper and printer toner produce images through residue, negative space, and bureaucratic imprint. Throughout the work, I cultivate the illusion of a “void” through the excess of my labor, obliterating each piece with layers of material and information. This reflects the effort required to maintain sanctioned versions of events and the power of institutions to make us question our own perceptions—to estrange us from what we believe we see.