My work explores ideas concerning the fibrous connections between inner life and the outside world with the body as the site of these two differing, at times seemingly oppositional, realities existing in simultaneous continuum. My studies in biology and art intermingle while developing ideas concerning alternate anatomies and floods of the body—the liquid inside, the air outside, and the fine line of skin between. 

 I like to use abundant, even derelict, materials such as seaweed, driftwood, salt, threads, bits of old textiles, sinew, and gut. These materials all cycle through ink, clay, and paper, to become prints, books, objects, and installations that adopt adaptations, appendages, secretions, instincts, morphologies, and biological strategies of the natural world while exploring the aspects of the condition of being human. I am interested in how we embody our emotions and by extension, how we embody our environment. Our civilized outside belies the biologically complex human animal on the inside, which can be both beautiful and hideous all at once. The materials I choose, the behaviors and repetition involved in my making, are integral to the exploration of how my corporeal composition effects how I interpret and internalize both people and environment. My main motivation for working is to explore how we fill our bodies, our clothes, our rooms, and our world. The struggle between inside and outside shapes our choices and directs who we become, how we interact, and what gets remembered. 

The work itself continually morphs and changes around these themes and with these materials. I like to think that the work continues to emulate the alchemy of our experience—various processes and pressures of flow, transformation, and evaporation (disappearance).