Drawing on both Buddhist and Catholic traditions highlights the complexities of colonialism and reflects my experiences of engaging with these cultures from a diasporic, post-colonial perspective. Embellished with cascading ornamentation reminiscent of filigree and wrought iron gates, these symmetrical works appear as ethereal relics—tributes to matriarchal wisdom, reflecting the desire to protect, preserve, and transmit familial memory. The gatelike forms serve as a symbolic reference to growing up in an affluent white neighborhood in the United States of America, where these structures functioned as markers for social stratification and security. In the work, they are used as a symbol of protection and elevated status. Centralized but only partially revealed portraits of matriarchal figures evoke the fragmented nature of memory and ancestral history, where some details remain hidden and others surface into view. The obscured photographs and ornamental armatures express my longing to reconnect with my lineage, while honoring the complexities of immigration, displacement, and intergenerational resilience. Rooted in a yearning for connection, these works arise from personal memories, family photographs, and culturally significant materials. The process of collecting feels like excavating a buried family history; sculptural armatures protect, preserve, and venerate ancestral narratives. The photographs also prompt memories of long-forgotten family lore spanning pre- and post-immigration. Materials from Asian grocery stores–such as rice and dried goods–deepen my bond to my heritage through food, memory, and tradition. Sourcing these materials from local markets recalls gestures familiar to diasporic communities from many nationalities; it is a strong desire to cling to ancestral memory. ‘Working hard’ is a deeply rooted familial value, and is carried out in my practice through acts of repetitive ornamentation. The meticulous placement of small pearls, shells, individual grains of rice, and gold beads is a method of creation and a vehicle for ancestral reverence. The physical creation engages my body through material processes that echo traditional cooking practices, creating a kinesthetic link to my immediate family as we fall into the same rhythms, motions, and forms. As I knead paper clay, I see the hands of my grandmothers making dumplings; I see my mother rinsing rice as it runs through my fingers. These moments of crossover occur through embodied resonance, creating a physical and spiritual connection, transforming meditative labor into intergenerational communion. The interplay of materials and photographs create a space for exploration and immersion into a culture that is both intimately familiar and subtly distant, allowing for reflection, reclamation, and a profound sense of belonging.

Drawing on both Buddhist and Catholic traditions highlights the complexities of colonialism and reflects my experiences of engaging with these cultures from a diasporic, post-colonial perspective. Embellished with cascading ornamentation reminiscent of filigree and wrought iron gates, these symmetrical works appear as ethereal relics—tributes to matriarchal wisdom, reflecting the desire to protect, preserve, and transmit familial memory. The gatelike forms serve as a symbolic reference to growing up in an affluent white neighborhood in the United States of America, where these structures functioned as markers for social stratification and security. In the work, they are used as a symbol of protection and elevated status. Centralized but only partially revealed portraits of matriarchal figures evoke the fragmented nature of memory and ancestral history, where some details remain hidden and others surface into view. The obscured photographs and ornamental armatures express my longing to reconnect with my lineage, while honoring the complexities of immigration, displacement, and intergenerational resilience. Rooted in a yearning for connection, these works arise from personal memories, family photographs, and culturally significant materials. The process of collecting feels like excavating a buried family history; sculptural armatures protect, preserve, and venerate ancestral narratives. The photographs also prompt memories of long-forgotten family lore spanning pre- and post-immigration. Materials from Asian grocery stores–such as rice and dried goods–deepen my bond to my heritage through food, memory, and tradition. Sourcing these materials from local markets recalls gestures familiar to diasporic communities from many nationalities; it is a strong desire to cling to ancestral memory. ‘Working hard’ is a deeply rooted familial value, and is carried out in my practice through acts of repetitive ornamentation. The meticulous placement of small pearls, shells, individual grains of rice, and gold beads is a method of creation and a vehicle for ancestral reverence. The physical creation engages my body through material processes that echo traditional cooking practices, creating a kinesthetic link to my immediate family as we fall into the same rhythms, motions, and forms. As I knead paper clay, I see the hands of my grandmothers making dumplings; I see my mother rinsing rice as it runs through my fingers. These moments of crossover occur through embodied resonance, creating a physical and spiritual connection, transforming meditative labor into intergenerational communion. The interplay of materials and photographs create a space for exploration and immersion into a culture that is both intimately familiar and subtly distant, allowing for reflection, reclamation, and a profound sense of belonging.