As a Japanese-American artist, my multidisciplinary, materials-based practice employs the plastic syntax of language and landscapes and their artificially relative perspectives to describe the fragmentary in-between of my biracial experience.
 
My work enacts a faulty kind of translation, particularly the mechanical transference of images and their matrices, to scrutinize notions of authenticity and interpolate lapses in fluency as an emblem of belonging. Driven by acts of orientation and observation, I apply various methods of rendering, printing, and arrangement to rupture sources and dismantle the spatial politics of maps and representations of nature. The use of specific materials tasked with demarcating and aligning are instead prized for their unintended, residual qualities–yielding images, objects, and sounds that are stacked, warped, and dissonant. In embracing disruptions of uncooperative mark-making and glitches in mimicry, this sacrosanct of potential allows space for temporal memories, familial archives, and rituals of uneven synthesis to crystalize.
 
Seeking to materialize the fullness of a mutable and inefficient language, the transparency layer palimpsest of my work registers latent points within an intermediary framework to merge a mercurially close and unfamiliar self.

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