To look at the everyday as inherent.
To view Clay as memory material.
To memorialize the intangible.
To ponder the deeper sections of the heart that pull at the pit of one’s stomach.
Loss, longing, tension, repulsion, intimacy- these emotions exist eternally, a universal foundation of the ephemeral. It is the juxtaposition of ephemerality with the permanence of the object that intrigues me. The way the body takes agency over form, and how that authority does not transcend, but further demarcates the existence of ephemera. The human necessity to make marks not just literally, but through tradition, through movement, through task, through stillness, and through relic.
Meditating on these things, I have come to a practice that draws inspiration from feminine identity and performative action. I am interested in playing with the quagmire of contemporary womanhood and its darker pockets: Anxiety, sexuality, accumulation, instability, hysteria, tradition, collective memory, trauma, and the personal struggle to understand what it means to be “a good woman.” I work through many of these by performing the hyper-feminine in an attempt to connect with the hegemonic notion of the male gaze while simultaneously rejecting and reveling in it. Through my process, I capture these conundrums through happenings and task completion. Some of these exist in real-time documentation, some are more references to an event of the past– a relic of occurrence. I view this product of process as an artifact. An intimate moment of creation that cannot be viewed or held.