Our view of reality is a complex construct of interrelated moving parts defined by the culture, religion and politics we are born into. Yet within that each one of us lives within our personal geography of our worldview. I use uncommon techniques and properties of glass to speak to the reality of a materials given value systems based on its historical and cultural associations. I have used this approach to create experiment-driven sculptures, objects and video work in glass.
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. As my work is taking different forms, I focus on different nuances of the same area of investigation.
I question the fluctuating association of cultural and self-identification and the interaction of our internal perceptions and our normative externalized projections.
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.
I experience feelings of dualities, alienation and disassociation towards others and myself. This sensation is the origin of the distance often felt in my work and gives voice to conflicts surrounding female trauma, mental disorders and a gender binary society. 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. I use these materials, as physical substances of transformation and change as well as carriers of symbolic meaning.
Nothing is of more persistent interest to me than process. Transforming materials allow me to imaginatively shape shift. I become a witness to transmutation, cycle and evolution. Recently, the observation of cyclical geologic transformation has allowed me to shift focus from materiality and personal experience to the landscape of common ground.