Artist Statement
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My process is an open-ended experiment, where my body becomes both an instrument and accomplice in shaping texture, form, and space. My work explores ideas of femininity, otherness, and physically of materials across sculpture, painting, performance, installation, and video, unified by a deep commitment to the physicality of materials and the tactile intelligence they reveal. I work with natural fiber that I dye by hand. Wool, silk, and cotton carry memories, tradition, and contain a material history of information, different materials coming from different sources. I dye them by hand.Animals and plants each carries distinct smell, feel and temperature when they are knitted and intertwined together, it creates an intimate relationship and conversation between the materials and where they came from and what they carry, and that's what my art does to reconnect people and for different stories: sorrow, joy, pain to be seen and heard, to be shared collectively.
In Pomegranate Piece, a performance piece, I used the pomegranate as a metaphor. The processes of chewing on the pomegranate and spitting it into balloons and later sewing the balloons filled with pomegranate seeds onto my “dress”, eventually causes an explosion.I use the material of the performance to continue into a series of work of soft sculptures, installations, and experimental films. This series of works delve into the profound discourse surrounding maternal nature and nurture, juxtaposed against the backdrop of cultural and social expectations placed upon women in diverse regions. Through my art, I endeavor to unravel the intricacies of identity, and the experiences of marginalized communities within the Western world. I explore the liminal spaces between mediums, where painting, performance, and sculpture converge in a seamless dialogue. My artistic inquiry is deeply introspective, seeking to navigate my place within the world while interrogating notions of identity and otherness. I am particularly drawn to the concept of monstrous femininity, challenging established gender roles and exploring the complexities of female identity.
My artistic exploration extends beyond the confines of the studio, as I engage with the physical environment of urban landscapes like New York City, as well as the natural world, including forests, water bodies, and soil. Through these encounters, I confront the elemental
forces of gravity, buoyancy, and resistance, merging my human form with the larger tapestry of existence. Ultimately, my work serves as a nuanced exploration of the human condition, inviting viewers to contemplate the complexities of identity, belonging, and the interplay between self and environment.
I am drawn to painting figures and bodies, they are fragmented and contorted.They are androgynous and strange, and were not grounded—they floated in the painting, disconnected from the space around them. Working on unprimed canvas made oil paint a more difficult surface to work with. However that struggle became part of the piece—the figure’s lack of rootedness mirrored the existential themes: the disconnect between selves and the world, this sense of not quite fitting in, or being able to ground ourselves. The figure is twisted, it is unable to bear with the idea of self-awareness and its existence, it is metamorphosing by nature, its form keeps on changing, it is screaming but in a muted fashion, it is full of rage yet vulnerable, and that’s where the connection to Nausea comes in for me.
For centuries, the female body has been disciplined, controlled, and our voices are muted by social structures designed to constrict its space—physically, emotionally, and intellectually. Women's desires, needs, and ambitions have been systematically silenced, leaving behind whispers of potential in a world where they should have roared. This silencing parallels the domination of nature itself—both women and the natural world reduced to objects to be controlled, exploited, and subdued. Nature, often personified as "Mother Earth," holds within it the same paradox. Revered yet exploited, it is a site of both creation and destruction.
I seek to use my body as a medium to explore the relationship between human beings and the environment, and more specifically, the relationship between the female body and public space—a space where women’s voices are often marginalized or erased. In doing so, I reclaim the body’s power, both as a site of vulnerability and as a force of creation and resistance. Ana Mendieta’s Silueta series speaks to me in profound ways. In her works, she merges the contours of her body with the earth, creating a dialogue between the human form and the land. Mendieta's art draws from the primal, the wild, and the sacred energy of nature: her Silueta series carries a haunting power through absence—her body is not present, yet its traces are undeniable. By imprinting her form into the earth, she evokes a sense of primal wildness and mystery, where nature becomes both a witness and a collaborator. The absence of the body speaks to erasure—of women’s bodies, of voices, of histories—yet it also calls attention to the spaces left behind, inviting the viewer to imagine what has been lost, hidden, or taken. In contrast, my work emphasizes presence. Where Mendieta’s forms blend into the landscape, becoming ghostly imprints, my body occupies space unapologetically, demanding attention.
The physicality of the body in my work—its contours, its rawness, its visceral reality—screams for recognition. In contrast, my work confronts the viewer with the undeniable reality of the body in its most primal state, forcing a reckoning with the desires, pain, and power that society has long tried to suppress. Together, these approaches offer a multifaceted exploration of the female body in public space—its absence, its presence, and its power.