PROCESS
I make what I make and do what I do as a result of my lived experiences and the circumstances of contemporary life, creating the things I cannot explain or understand utilizing language or the written word. Ironically the written word is the root of inspiration for my origin story, Graffiti and Street Art.
My interdisciplinary approach to my deep-seated obsession with materialism is: ‘We are living in a material world, and I AM a material girl.’ As I oscillate between mediums, between sites of process origin, from my street practice to formal studio training, from the white cube of the institution to public spaces of interest, in between these frameworks, I analyze the intrinsic cultural codes of my materials and processes with a diagnostic, critical approach.
Sculpture
My love for sculpture is absolute; it does everything paintings cannot, it’s not an illusion or manipulation of the viewer to see or understand space, it is space. The most profound aspect of this medium is it occupies real space, our space. This is where my interest in Placemaking began. Sculpture can transition a space into a place, and this place of transition is where usual boundaries of thought, self-understanding, and behaviour shift, opening the way to something new. My focus is on object making and the figure in a variety of mediums: steel fabrication, plasma torch-cut, oxygen acetylene, power carving, assemblage, and casting in concrete and aluminum.
See more Sculptures HERE
painted
drawing
Everything I create is based on the drawings rendered in my black book. I look at my painted works more as an extension of these works rather than paintings because of the focus on line, flow, and mark-making. The stencilled imagery often featured in these drawn and painted works features a lexicon of symbology based on my art practice and processes. This ideology is layered in a vibrating colour palette based on Joseph Alber’s colour theories, acrylic, aerosol, and one-shot enamels with additions.
See more Painted Drawings HERE