In the Remnants and Other Elevated Parts series, I’m using a variety of materials and processes, freely transitioning between 2-D and 3-D. The unlikely combination; vintage and antique textiles alongside more contemporary materials; fabrics from second hand shops, kitschy oil cloth, glossy vinyl and polyfoam feels paradoxical in nature, like a historical timeline happening all at once. I like weaving together layers of the handmade with equal attention to the mass produced.

The textiles, being from all over the world including India, France, Japan and the United States have a way of intertwining in relation to form and aesthetics which roots the work in this conceptual conversation.

The 3-d works; stuffed, sewn, painted on and collapsed onto one another can feel like a pile of laundry or paintings unhinged from their stretchers becoming monuments to their former selves or, conversely; exquisite historical treasures.

I like the idea of adding my hand to history, altering materials while touching on history, migration, transition and the significant recontextualizing of culture through our evolution of change both personal and universal.


In the New Artifacts Series, I’m using a variety of materials and processes, freely transitioning between 2-D and 3-D. The unlikely combination; vintage and antique textiles alongside more contemporary materials; fabrics from second hand shops, kitschy oil cloth, polyfoam and glossy vinyl, feels paradoxical in nature, like a historical timeline happening all at once. I like weaving together layers of the handmade with equal attention to the mass produced.

The 3-d works; stuffed, sewn, painted on and collapsed onto one another can feel like a pile of laundry or paintings unhinged from their stretchers becoming monuments to their former selves.

I have always worked, in one iteration or another, on concepts that touch on history, transitions, consequences and perceptions, both personal and universal. The textiles, being from all over the world including India, France, Japan and the United States have a way of intertwining in relation to form and aesthetics which roots the work in this conceptual conversation.

I like the idea of adding my hand to history, altering these materials to become new artifacts.


at Studio 4 Gallery in Bushwick NY and Liliana Bloch in Dallas, TX