We do this over and over again. We tell the same stories in new ways. My work examines this repetitive structure, this drive to create repetitive mythologies and simulated versions of reality. 

I pull screenshots from reality television dating shows “The Bachelor”and “Love is Blind” and take reference from renaissance mythological paintings. This work involves deep research into pop culture and an examination of reality tv like a classical text. I weave screenshots like chapters in an Hero’s Journey and overlay digital patterns and lace grids to create veiled goddesses out of reality television starlets.

My work is an investigation of textiles as a form of process art. Applying universal elements of textile methods, I make recursive objects based on an accumulating gesture or connection. Similar to the act of weaving, patterns and structure are dictated by the rules of the process. Through the guiding principles of the grid I am able to find common motifs and access familiar aspects of material culture: gem cuts, athletic stripes, studded collars, and patchwork quilts. I converse in the visual languages of minimalism, geometric abstraction, textile tradition and kitsch handicraft as a means of taunting the hierarchy of art and craft.

My current body of work is the result of haptic discovery and material learning, taking a single gesture- twisting strands of party bead necklaces together until they snap into a tension-held connection- and upon that action building an extensive vocabulary of processes. Working with party beads allows me to bring camp and visual decadence to formalism while exploring themes of value, taste, &

consumption. At the root of this work is the need to find comfort and self-soothing in the obsessive nature of making and to find sensory stimulation in the enticing luster of these woven objects.

If the distance between China and North America is 7723 km, then what is the distance between the previous me and the current me? If there are 12 hours between home and here, what time is it now? When a new life meets an old one, that moment draws me close. Tasting newness and oldness at the same time, I become the distance and difference; I am there, here, then, now.  In my recent work, I explore nature, identity, sense of place, and cultural displacement. Comparing and utilizing the elements and values from the East and the West, I trace my past, find my position. Living and moving among cultures, histories, languages, and assumptions always brings more – a question or an answer?  My work is comprised of multiple layers of ceramic materials and possibilities, suspended and fired on stilts, flowing down and pooling naturally in response to the topography and gravity. I hand-build my sculptures part by part and assemble them together to achieve an unknown structure and landscape. During this experimental and highly unpredictable process of making, firing, and installing, the position of my work has shifted and changed, becoming a new work of art. The scene of my work now looks ambiguous – it is neither the picture of my hometown nor the view of here. It is something extracted from a recollection of experience and imagination; it comes from a person who appreciates the past and embraces the possibilities of the future.

I find the process of creation to be like a meditation – as in becoming immersed in the experience and resolving what each work communicates. I think of material as memory and process as the passage of time. By repeating the processes, we continue a dialogue our ancestors have started. By relying on woodworking processes, I connect my actions and memories to the traditions of my predecessors.

Craft is ritual and material is memory.

Clay is my chosen material for its tactile beauty, malleability, and technical challenges. My intention is to make works that do not immediately appear to be ceramic, often seeming soft or fabric-like instead and also eliciting a desire to touch.

Inspired by the avian world, my current work explores repetition of form and material transformation, creating layered, tactile works referencing bird wing structures and specifically flight feathers (Remiges and Retrices).