artist statement

In my family’s home, the old is found with the new, the precious is haphazardly displayed with the common, and there is a never-ending cycle of items coming in and out of the house—curbside finds, gifts for others perhaps, objects in flux. This conglomeration of time and style has become the foundation of every space I have occupied, and I have become captivated by the lives that objects have lived. I explore this through the rearranging of spaces as well as the recontextualization of objects through scale and location in my prints. 

Repetition and translation are fundamental to my work, both in content and in process. I work with repetitive imagery across media, each time giving the object a new breath of life. The viewer questions whether the same object seen in two different images is the same exact item, moved from one location to another, or merely a representation of a manufactured multiple. Printmaking allows for multiplicity, for the same object to exist in multiple locations at once as the prints are disseminated. It also allows for me to riff on a familiar theme, reusing blocks and stencils to create an entirely new print with them, as if I was physically moving items in a house. I am in control of these spaces and able to “tidy” them up through rearranging in a way that I struggle with in real spaces. 

Through the laborious process of printmaking and the limited nature of the editioning tradition, a sense of preciousness results. This preciousness often leads to a reluctance to physically interact with work; however, I aim for preciousness and play to coincide through my work. Audience interaction plays a crucial role in my practice through books and sculptural print work that requires the viewer to engage in order to fully see the work. Play is emphasized through bright colors, loose markmaking, and humorous text, all pulled together by an attention to detail and dedication to the craft of printmaking.