At the root of all my work is a fundamental belief in the power of image and an understanding of the body as the primary site of knowing the world. I see images and image making as a practice in magic as much as theory: I have found that by simply re-appropriating the female form through my work, I am able to simultaneously re-appropriate the female experience. I take back both personal cultural space through the making of alternative images of the abstract and literal female figure.

Working in painting, drawing, ephemeral sculpture, performance and video, I investigate the female body as it pertains to time, language and “other”. In my current work, I explore the contemporary implications of menstrual taboo, menstrual seclusion and menstrual rite in the context of everyday life. I consider the body directly through the methodical collection of my own hair and blood. I sew my hair into paper, drawing various stages of cellular mitosis and the replication of mother cells into daughter cells, investigating ideas of time, genesis and the m(other)ness of the body. I also make objects out of primal materials of the earth: pinesap, pine needles, dirt, beeswax, clay and bone ash, using natural pigments like yellow ochre and iron oxide. I use these materials to both cast and sculpt the female form.

I am curious about the ritual aspects of form, object and image: how they can embody and impart mysteries and practices indigenous to the human species, especially forms located in the female body. I focus on areas of the body directly correlated to gender and female practices like nipples, breasts, blood, hair and ovaries.