My visual language is created through processing and translating reality. I see something and I accept it. I read it from my perspective, and I perceive what it is for me. When I encounter an event, feeling, or observation in the world, I process the experience by recalling distant memories and imaginative possibilities. The translation of reality is experimental and abstract, evoking mysterious atmospheres that defy precise classification.
The time I spend making the work mirrors the time I spend processing and translating reality. I sew fabrics, hand build clay, and draw. I use materials with significantly distinctive characteristics, such as clay, fabric, wood, or metal. Making ceramic and fabric compositions allows the pairing of softness with hardness, flexibility with stiffness, lightness with heaviness, and detail with abstraction. Images of distant and clear memory are revealed by using flowing glazed surfaces and matte clay surfaces that are activated with a pencil. Through these contrasting oppositions, they begin to represent the duality of domesticity to nature, control to spontaneity, feminine to masculine, and east to west. While I contrast materials through their different surfaces and physical and contextual meanings, I align them into a cohesive moment.
The contrasting qualities in my artwork create visual puzzles that suggest a multitude of meanings. I regard my practice as a journey to find the essence of an object, experience, and how it relates to reality. I do not want to define what is right or what is wrong. I want to understand what I experience beyond the physical and delve into the realm of emotion and imagination. Through my evolving visual language, I want the viewer to experience moments of duality for themselves.