My artistic intent meanders in and through cultural residues. I vacillate between rocks and hard places. The rocks are my body, my knowledge, my experiences; the hard places are the barrage of relics that influence my existence and the existence of the Western body politic.
Our history, our culture and our social location defines and shapes us, and who we become as individuals, as groups, as communities, as nations. Cultural artifacts we interact with harness and portray meaning; hierarchies of power are inscribed. Mediated words, both spoken and written, influence our thoughts, actions, and desires. Images portray representations presented as truth, reality. Steadfast ideological dogmas are embedded here, created and re-created; copied and co-opted. Where do these dogmas originate? Who creates them? Who benefits?
As a conceptually based artist, my practice is based on exploring identity narratives, challenging hegemonic power structures, celebrating countercultural rebellions, and examining the past in order to define and shape a future I want to live in. My work lives at the intersection of art and Feminism; social protest and art are inseparable and embedded in every decision.
I incisively explore American history and cultural artifacts through a distinct intersectional Feminist lens. I find significance in deconstructing the mechanics for how meaning is created and framed, how meaning is assigned and how meaning gets distorted over time.
My work investigates, exposes and confronts the materiality of Racism, sexism and classism and the impact of the settler colonial regime and Western imperialism on colonized bodies. This work exposes how the process of dehumanization is inextricably linked to capitalism, patriarchy and commodification.
Exploring the materiality of oppressive narratives—the physical and symbolic properties of cultural artifacts, and how ideologies and identifications emerge, spread and inform society, is an invitation to confront hegemonic legacies, enable new perspectives on race, gender and class, and contribute to what Nicholas Mirzoeff calls “new decolonial histories of the present.”