As a public and activist artist, one can find my work within the swell of femme-identifying voices challenging domination, misogyny, violence, and the silencing of our enormous collective power. The veracity and sonority of womxn's voices have been suppressed for millennia. As civilization has been dictated by man's dominating ventures, the strength of womxn and non-binary people has grown deep roots beneath society's voracious climb for capitalist power and supremacy. The problems our communities face are tremendous and often deeply personal. To respectfully honor the issues I tackle with my work, I oscillate between engaging with the contemporary art world and my community through participatory public art and human rights activism. This participatory work currently centers on collective healing and collaboration with survivors of sexual violence. 

I have found that collaborative processes erode the assumed impossibility of bodily autonomy and embolden survivors to recognize their resilience by investigating their personal healing processes. By hosting creative healing sessions developed and facilitated by art therapists, I have witnessed remarkable emotional and social transformations within the ever-expanding community of sexual assault survivors. These transformations offer essential insight for contributing to the development of a world free of this violence, the ultimate goal of this multi-year endeavor. Utilizing public spaces to honor these partnerships allows my collaborators' power, visions, and humanity to be fully witnessed by their geographic communities. Additionally, the democratization of art in public spaces enables my work to reach those stuck behind the Art World's golden curtains. Creating for people who do not have regular access to art and healing modalities is a founding principle of my work, an intentional challenge to the Gordian knots of capitalism which infest nearly every corner of the art market. 

All of my projects require months of research before I begin to create. This deliberate act of working slowly furthers my desire to interrogate the destructive consequences of capitalism to better consider what real solutions look and feel like. Because much of my process is focused on dispelling embodied violence, I seek to create with non-violent materials, methodologies, and a keen awareness of my environmental impact. My materials range from crowd-sourced metal coat hangers and reclaimed fabric to upcycled rice hulls. adrienne maree brown’s seminal text Emergent Strategies shares a methodology that I incorporate as a framework for my thought and creative processes,

This questioning of the root problem, and what may be grounded solutions for it allow, and require, further intentional and methodical periods of contemplation. When working with groups who have been systematically discarded or destroyed by our current racialized and gendered economic systems, my slow approach translates into care, connection, and trust. As Johanna Hedva states in Sick Woman Theory, 

 Some of my work requires durational performances to show the absurdity of the feminine condition. This endurance references the generations of womxn who have weathered the expectations to be mothers, caretakers, and wives in a world that doesn't allow all of us the choice to be ourselves. For me, being a womxn artist is to honor that resilience by using it as a tool to process my emotions, illuminate unjust realities, and brazenly instigate desperately needed societal change. I am an artist first to create a world I want to live in and second to fulfill my overwhelming desire to create.