Through my work, I examine how technological, political, and cultural systems are redefining the environment, caregiving, and public life. I approach art as both material practice and critical inquiry, utilizing sculpture, installation, painting, printmaking, and socially engaged public art. My practice, grounded in feminist theory, continental philosophy, and cultural studies, draws on concepts of the lifeworld, biopolitics, and technological agency, with recurring themes of global warming, family structure, and technology. Ideally, I view care and caregiving as a framework that allows me to expand the idea of private or invisible labor and use care and caregiving as a political force that reveals structural inequities embedded within social and technological systems. I often situate my work within public and semi-public spaces, using strategies informed by street art, and social practice to engage viewers beyond the confines of traditional art institutions.
Ultimately, through my work I ask how art can function as a site of resistance and repair in a world increasingly shaped by technological acceleration and social fragmentation. I hope to create a critical dialogue, and create work that not only reflects contemporary conditions but also invites sustained reflection on how we might imagine a more just and humane future.
One of my recent projects, A Thousand COVID-19 Cranes was begun while I was recovering from COVID-19. Each crane is created using a face mask, and each group of forty cranes is strung together using red string. To me, the materials and the cranes symbolize the pandemic on personal and global levels. It is said, if you make a thousand cranes in one year you will be granted a wish by the gods, and are granted happiness, eternal good luck, and recovery from illness. It is my wish that we, as a global society, not only recover from COVID-19, but also see the injustices that this pandemic has highlighted, such as racial, social, and economic inequalities in the US and across the globe.
