My work is marked by an urgent need of imagining new ways and forms in which the body can exist. Although there is severe violence that marks the body as a site of trauma, my practice attempts to transform experiences of violence and assault into regenerative opportunities for renewal. To bring rupture, dissonance and ferocity to the foreground. Through performance, painting and sculpture, I think of my body beyond fixed notions of representation while imagining a new self that plays with the theatrical, the spectacular and the fantastical as mechanisms of survival. I think about how memories of sexual assault are sometimes limited, invisible and impossible to trace. I’m curious about the ways in which these incomplete pieces are as frightening as they are emboldening material in an artist's practice. Performing in Drag has served as a site of humor, satire and relief in my practice. Drag as a way to perform an untouchable self and as a way to foster collaboration with other artists. I’m excited by the intimacy revealed in the works of other artists and I’m motivated by the emancipatory power of artworks that generously reveal vulnerability. Working with metal, leather, papermaking, costumes and props, I’m driven by the autobiographical spirit of my practice and the ways in which the erotic charge and emotional sensibilities of it can be carried through several different materials and mediums. I want to continue to make work that carries the weight of a responsibility to respond against dominant forces of power that control the queer body. To undermine matrices of imperial and colonial hierarchies by destabilizing their realities through explosive manifestations of desire and irony.

My work is marked by an urgent need of imagining new ways and forms in which the body can exist. Although there is severe violence that marks the body as a site of trauma, my practice attempts to transform experiences of violence and assault into regenerative opportunities for renewal. To bring rupture, dissonance and ferocity to the foreground. Through performance, painting and sculpture, I think of my body beyond fixed notions of representation while imagining a new self that plays with the theatrical, the spectacular and the fantastical as mechanisms of survival. I think about how memories of sexual assault are sometimes limited, invisible and impossible to trace. I’m curious about the ways in which these incomplete pieces are as frightening as they are emboldening material in an artist's practice. Performing in Drag has served as a site of humor, satire and relief in my practice. Drag as a way to perform an untouchable self and as a way to foster collaboration with other artists. I’m excited by the intimacy revealed in the works of other artists and I’m motivated by the emancipatory power of artworks that generously reveal vulnerability. Working with metal, leather, papermaking, costumes and props, I’m driven by the autobiographical spirit of my practice and the ways in which the erotic charge and emotional sensibilities of it can be carried through several different materials and mediums. I want to continue to make work that carries the weight of a responsibility to respond against dominant forces of power that control the queer body. To undermine matrices of imperial and colonial hierarchies by destabilizing their realities through explosive manifestations of desire and irony.