I specialize in the recognition of unrealized potential. Recovered materials, with the slightest mediation, become precious and valuable. I use this process of transformation, and the resultant objects, to mirror current cultural conditions and readjust the lens with which we respond to discarded humanity.

I sometimes begin this process with an attraction, and then an intuitive response, to a certain material. I’m drawn to the innate, formal properties of color, shape, texture, reflectivity, transparency or opacity. Often times the materials I collect are considered repulsive, but in that repulsion, they are unique. They are rare, one of a kind. There will never be another like it, and through my discovery, I feel special and empowered.

Working with tangible materials provides a certain kind of thinking, and learning, only available through the use of one’s hands. I like what I think about when I am making repetitive cuts, responsively balancing forms against gravity with mass, or considering the negative space of the surrounding architecture. This meditative thinking-through-craft is a necessary compatriot to the exacting work of traditional, (commercial, digital) graphic design.

Other times, I am plagued by a certain phrase like an earworm and must deconstruct its semiotics visually. Language is not linear, despite appearing so typographically. It is a beautiful web of connotation and of context. That connotation is either conclusive, clear and direct, and therefore persuasive. Or it can be ambiguous, personal, sarcastic, or contradictory. Idioms are my wellspring, cherished for their brevity and pervasiveness. I’m drawn to both the direct and indirect forms. Most of my work with language is Socratic in nature, and therefore instrumentalist.

My work is simultaneously a cultivation, and a critique, of systems of power. Systems consist of three components: the elements themselves, their interconnections, and a purpose. The ways in which we habitually interact with dominant systems, even if they are not beneficial to us, helps preserve their functionality. There are ways to subvert these systems and predominantly, our culture feels it is best investigated through the law. As Americans, we have an inherent and altruistic reliance on the justice system and through that notion we ignore, or worse, reject, the potential for other forms of eliciting change.

Our perceptions are contextual. Everything we know is relative to our existing belief and bias. Art reflects, destabilizes, evokes, provokes. With efficiency.

I’m interested in the visualization of mutually beneficial systems, where the purpose of an event is to increase the benefit of successive events. Similarly, exploring what can be accomplished when a collective uses its force to achieve a goal. Conversely, imagining what can the single human effectuate?

I enjoy mining the historical and contemporary symbols, emblems, and logos associated with power, and mutating them for my own purposes. I’m enamored with forms for recognizing and commemorating achievement: medals, badges, uniforms, trophies, plaques. Violence and vulnerability are the inverse subcomponents of power. I enjoy researching culturally accepted and unaccepted ways of expressing or discussing violence. And defining where we are expected, and moments when we are never to be, vulnerable.

I am interested, most of all, in the female perspective of all of these things.