I view time as a layered spiraling continuum. The themes in my body of artwork revolve around the past’s impact on our present, as well as labor, both personal and communal.  This can be seen in works that show the impact left by our actions on the environment around us or the reciprocal impressions our bodies hold from the wear and tear of labor. I gather and re-interpret the remnants of labor as it relates to individual and communal identity, gender, and memory.

I consider myself a conceptual artisan; in other words, a maker who values excellent craftsmanship as well as the importance of choosing materials and processes that represent an overarching idea. Most pieces include multiple materials chosen specifically for their connotation and ability to express an inherent meaning. For example, white cotton references America’s former reliance on slave labor to create our wealth as a nation, a common Southern crop, clothing, agriculture, and whiteness. The use of iron references industry, the metal in our blood and earth, brittleness and strength, and commonly used domestic cookware. Each material is further manipulated in the studio through performative, repetitive labor by which a process like papermaking becomes learned in the body and subsequently retained in the material of each artwork.