artist's statement 

I am fascinated by America’s historical amnesia, its role in shaping Western ideologies, and the way these frameworks reflect and influence our cultural memory as a nation. My practice is grounded in a steadfast, genuine love of drawing, but explores processes such as weaving, cyanotype, porcelain painting, and papercutting as a means of deeper exploration of materiality. Most frequently, my studio practice looks to paper as a material, a tool, and a conceptual launching point. I will most often mine old photographs, newspapers and other discarded print material for visual content. I enjoy both the physicality and fragility of these ephemeral things, as they have stories that continue to resonate as time passes, but also risk losing nuance as context fades from cultural memory and experience.

I find the cuts, tears, weavings, fragmentations, and other manipulations commonly utilized in my work are a way to playfully engage with my subject as a physical object in an increasingly digital world. But more importantly, these manipulations are a vantage point, a re-contextualization and re-interpretation of traditional narratives. I consider myself to be both de-historicizing and then re-historizing at the same time. My work attempts to question our traditional understanding of American narratives and conflict, and our reliance on visual documentation as a way of translating histories. With a nod to subtlety and deception, I urge viewers to look carefully and critically -  to the story that emerges within their own experience of looking.