-
In my practice, I investigate artistic labour and working conditions, process-driven production and how these issues may affect artworkers, artworking, language and bodies. I find myself spiraling around queries related to individual as well as collective processes of artmaking and artworking as if it will reveal to me crucial information about creative labour practices. Issues of money, class, idleness and industriousness usually arise and lead me to attribute a political significance to the art object. By focusing heavily on repetitive and labour-intensive working techniques, as well as repetition of themes, motifs and language—sequence becomes a material or a means of representation. The sequential movement and repetitive action of the artistic process extends into the final art object, whose finality is ultimately secondary.
By extension, I am also curious about the ecosystem of embodied identity through the study of eating and of food—seeing, consuming, digesting and recording food and relevant food-cultures. This relates to studies of intergenerational, financial and political trauma as well as gendered violence. In this extension of my artistic practice a process of embodying personal experience, ancestral/historical experience and political policy is always taking place. Ultimately, the continuous process of investigating and re-investigating personal experience is one of repetition, where identity is ambiguous; always being found and lost.
I work across disciplines and mediums and this fluidity of form lies at the heart of my practice. I work with printmaking, installation, painting, typography, video and text-based performance. The common thread throughout these mediums lies in an interest in repetition, materiality, text and pattern as well as a consistent presence of the artist’s body and process in the final artwork.
*for more information please visit the cv page
*photo by Thomas Samaras