Materials as physical substances have a multitude of potentials and identities cultures and societies fail to embrace. They possess the ability to exist on a spectrum of physical states and inhabit a pulralistic rather than binary space.  

In recent years my work has developed in two directions. I have deepened my engagement with video and installation to broaden the possibilities of my expressions as well as incorporating emerging technologies in my material based research. 
In my older work I used glass, engaging with the material’s ability to transform as an analog for the complex and shifting nature of reality. Although in my newest work the focus is no longer on glass, material characteristics like transparency, reflection, heat and cold, fluidity and transformation are still central to the work.
Having been a foreigner all my adult life- not only geographically and culturally- but as a, bisexual woman, with borderline personality disorder, emotionally and bodily. It is what creates my interest in temporary situations and processes. In my studio I am able to form a dystopian world that speaks to displacement and conflict. Process and material transformation play a key role in describing my desire for a fluid social environment, and the hope for a place where a multiplicity of truth can be accepted. 
I begin by exploring the qualities of a material. Materials that transform, change states, or are transient, like glass, water, salt and my body, provide me with the tools to deconstruct and erode a given reality. 

Transforming materials allow me to imaginatively shape shift. I become a witness to transmutation, cycle and evolution. Through video I have gained agency over the process. I can document rapid changes and zoom into slow processes, without being bound to the framework of real time. Meanwhile being presented through this medium to crosslink narratives, materials and places.
In “Borderlands” as well as “NOON”, the observation of cyclical geologic transformation has allowed me to shift focus from materiality and personal experience to the landscape of common ground. I look to the contrasts present in environments and the visible violence necessary for the formation of landscapes in which I place the body, using the landscape as a proxy to reference the social landscape of our human environment.

Through my recent project I portray the longing for the hermaphroditic, the neutral and circular, drawing from Nietzsche’s understanding of the subconscious, the metaphysical quest of alchemy and the belief in the intangible presence of reoccurring cycles, from history and seasons to animal migration, the ocean currents and the female cycle; the work draw parallels between different observations that present the same patterns of transition and re-emergence and enforce the permanence of transformation.