Artist Statement
2025

​My creative practice is a personal attempt to show how art objects have agency and invite the viewer to engage in “play”, that is, to actively dialogue with them—bringing hyper-objects together as hybrid entities, and becoming chimerical or beyond human. I aspire to deconstruct the experience of being in an environment that overlaps the seen and seeing through performances of meditative ritualistic actions that elicits the bizarre sense of apperception. For these reflections to occur, I immerse myself in both the task and my environment while hand-spinning yarn, mending, and weaving to construct large-scale hide and textile installations.

These acts of meditation on discipline and celebration of our limitations are demonstrated in works in which I mend the sharp geometry of a quilting-square in an effort to give back what had previously been cut away from the cowhide. I address themes of mortality by using livestock and its byproducts while simultaneously revering the continuation of growth and transformation, even after the slaughter, leaving behind both an objective and sacramental skin. Rituals throughout history are tied to birth and death, along with the notion of sacrifice. Sacrifice is always a gratuitous act, squandering wealth or useful resources for other ends, bringing about an intimacy to life that is out of place in the everyday world of work—linking us to animals and transforming something purely destructive into something creative. Sacrifice also elicits a sacred time together with an intense quiet at the intersection where life and death overlap. This induces an ephemeral de-acceleration when one moment becomes disconnected from the next as well as the prior—dismantling the spectrum of space and time that demands each moment to exist entirely as hyper-present.

By using hides as relics of these ritualistic actions and my own body as an instrument, I am able to arrest these transient moments of restoration; a necessary permanence that facilitates remembrance in which I reflect on the aftershock following the initial impact—echoing trauma and violence acted upon the bodies of both human and non-human participants. When examining the craft process against historical violence and forced silence I feel as a woman confined to these traditional acts of endurance, I sense a tear in the integrity in life making itself known. This active engagement demonstrates existing on unstable foundations when dissecting patterns while plucking at warps of spun wool, scaffolding weaving atop former hidden layers, and drawing the skin taut when bridging the wound gap akin to scar tissue that distorts the hide in an act of healing. Thus, creating an interruption in narratives that heightens sensations.