Abstract
I follow a nomadic pattern of life, moving from here to there, trying to figure out my next step. I know my physical relationship to a place is temporary. I move because of trauma or fear—for love and happiness. I use my experience of newness as a part of my visual language. With each work, I depict the layers of memories that I have collected from the many places I have lived. Expectation is a strong belief that something will happen or be the circumstance in the future. I have no expectations for my work and its final outcome. Control is an important factor in artmaking, I have little of it. I put my work through unpredictable situations in order to be faced with the challenge of how to continue moving forward. Like in life, we struggle, and we are forced to figure out what to do and how to navigate circumstances. How do I rebuild after everything in life crumbles while still standing on a shaky foundation? Similarly, the work references ingenuity, resourcefulness, and utility making something out of nothing. Objects that are deemed incomplete and unimportant—left as refuse—in life are the fragments that I reflect on and energy from which I build ceramic sculpture. I understand and use unpredictability, resourcefulness, adaptability, change and time through accumulating found materials. I’m aware of my perspective and it is through my sensitive differences that I can make this body of work. I make humorous autobiographical ceramic sculptures that show time and history through a process of generational material changes. I celebrate intimate symbolic identity, resourcefulness and adaptability, improvisational and accumulative change, and ultimately strength and survival through structures that are both precarious and stable.