statement

My childhood was spent on sixteen acres in the woods as part of the back-to-the land movement, and in my later teens I lived on a remote Gulf Island. Quiet reflection and awareness of nature and life and death symbiosis was imprinted on me at an early age. This upbringing has influenced my work through my methodologies and material practice. My practice spans a multidisciplinary intersection of visual art, spatial design, digital, and contemporary craft processes that explore the transient elements of life. Themes of impermanence, time, absence and presence, and memory inform my artist research. Central to my practice is a form of deep listening that’s attuned to frequencies of the material and immaterial.  

I actively seek connection to self, human, and more-than-human (non-human) worlds through somatic relationships to materials, embodied performative acts, creative writing, and experimental time related processes that include moving images and sound. Embodied knowledge for me goes beyond superficial awareness to explore sensorial, more-than-human life and spaces, and metaphysical connection. Somatic movement, meditative sound walks, sound therapies, connection to more-than-human worlds, and drawing are methodologies I use to access the unconscious. These become sites of deep listening, meditative acts that invite slowness and awareness of impermanence.

At the core of my inquiries is the concept of grief literacy, an acknowledgement loss is part of life, and that openness and conversation may become forms of healing and acceptance. I reference loss through symbolic imagery such as burial shrouds and shadows to evoke themes of absence and presence, impermanence, and being suspended in a state of becoming. I work with thrifted, upcycled, and organic materials, biomaterials, human hair, and natural ephemera that will change or decay over time. My practice is rooted in a philosophy of care and empathy through my research processes, material labour, and project engagement. Ultimately, I’m asking how does one reconcile with endings that have not yet manifested into future worlds? These transitional spaces are ambiguous, and I invite you as active viewers to bring your own reflections into the work.