Recent Work | 2025-2026
When My Flesh Feels Like a Cage, You Lead Me to the Dance Floor, 2025
ice dyed/immersion dyed fabric, procion dye paint, mixed-media applications, relief botanical prints, textile collage, hand sewing58 x 72 in This textile-based soft sculpture ponders the idea of our bodily flesh sometimes feeling like a restriction between the mind and that which is greater than us. The work understands unfettered movement as a medicine that helps us to connect with nature via our primal self and uninhibited intuitions.
It is also representative of the cycles of life and death——from the earth, to flesh, back to the earth again and again taking on differing forms of matter each lifetime.
The new life that awaits ahead of the old one, the forest that beckons us home again and again. The portal door, the pearly gates, the heavens, the underworld——the spiritual gateways we seek access to and through.
A cosmic dance manifested as a physical dance.
When My Flesh Feels Like a Cage, You Lead Me to the Dance Floor (Detail Shots), 2025
Moon Caress, 2025
ice/immersion/tie dye, mixed-media applications, relief print, cyanotype, hand sewing
58 x 72 in Inspired by duality, cycles, reflections, rebirth, nature's rhythms, and femininity. Unlike the sun, the moon waxes and wanes, ebbs and flows, pushes and pulls. I have always felt drawn to nocturnity, creatively charged by the energy of the moon and its representations through history.
The moon has long been honored for its cyclical nature that allows for the tracking of time/seasons, fertility/menstruation, and tidal shifts. Thus, this work seeks to honor the origin stories that anthropomorphize the moon alongside cosmic bodies and natural elements such as the stars, trees, ocean and plant beings.
For me, creating this was a practice in mirroring, reflecting, rippling, as illustrated by the circular application expanding outwards from the center.
"The soul, like the moon,
is new, and always new again."
(Lal Ded, Kashmiri poet b. 1320)
Detail shot of the cyanotype print in the center of the Moon Caress piece. The collage consists of a portrait photo of myself situated within a digital collage environment that I curated and arranged.
Though my pieces have embodied thematic throughlines of identity, I have recently begun to expand on this by incorporating physical indications of identity in the form of portraits on cyanotype.
These abstracted portraits position me as a subject in dialogue with generational histories, ecological landscapes and emotional terrain
A poem of mine on cyanotype that complements the larger piece by the same name.
I am interested in the written, oral, symbolic, and material systems that cultures have developed and utilized to convey meaning. These systems, used to pass down knowledge, record history/astronomical phenomena/agricultural patterns, and outline religious/ideological beliefs and rituals, stand as a testament to the enduring human desire to question one’s place on a micro and macro level——within a society, within nature, and within the cosmos.
Thus, this cyanotype-printed poem pays homage to written forms of knowledge transmission such as codices, papyrus manuscripts, and scrolls.
Moon Caress
The stars dropped from the heavens
to become the plants
and the nectar of the plants
became the mystic’s liquid.
Nature subtly rearranging energy,
so I too have been the fungi
on the forest floor.
I too have been the layered rings
lining the inside of the tree.
I’ve got moss growing under my skin,
tickling my heart strings.
I’ve got the moon’s shadow
hidden behind my eyelids.
And I swear my flesh held under a microscope
is full of plant cells.
This piece explores the goddess Ma'at's role in the underworld while paralleling my feminine ancestry, personal identity, and Athena's role in mythology. Ma’at weighs the hearts of those who have passed to assess their morality and righteousness according to her seven principles: Truth, Balance, Order, Harmony, Righteousness, Morality, and Justice.
The drachma is one of the world's earliest coins used as a form of currency in ancient Greece. This Drachma pictured on the cyanotype was passed down to me by my great grandmother, I only realized what it was a few years ago after her passing. Nobody in my family knows how or why she came to have this piece of history in her possession, but when I hold it I feel the pulse of history and identity.
On the drachma is an engraving of goddess Athena. On the unpictured side of the coin is the owl associated with Athena; together they represent wisdom and knowledge––meant to ensure the harmony of a civilization (like Ma'at).
The Body Drachma, 2025
Portrait collage on cyanotype8 × 11 in