I create corporeal vestiges using leather, wax, ceramic, and paper. In a heteronormative culture that demands sanitized palatability, I find joy in wading through the touchable ickiness of life. The implicated beings in my work are on display in they way voyeurism makes objects of women or how we might encounter a taxidermy animal at a museum. I question how certain people exist and move through space, and how I move through space within my own skin. I examine the simultaneous exposure and erasure that queer, female-identifying, and ill bodies face daily.
I create objects in various states of transformation, decay, unraveling, or growth. Cold and industrial materials are display mechanisms for my sculptures, illustrating the non-binary and non-normative body in the contemporary landscape. Weight and Suspended Triptych are composed of ceramic bone-like shapes, coated with a membrane of encaustic wax. Suspended precariously, both pieces hang off the ground, one by industrial silver painted clamps tied to wires and string, the other floating on a toxic green net.
Other works pull from the idea of the skin, as both a vestige of the body and a mechanism of protection and identity. In Blanket 1, large scraps of leather expose descended yellow innards of dyed batting, barely concealed by a loose flap. My organic and skin-like structures are supported by their visual opposite: glowing acrylic or neon dowels locked into industrial cement. Tactile, uncomfortable, and unstable, my work engages in a conversation around visibility for the queer female body and other non-binary bodies.