I am interested in an imagined process of mutation and metamorphosis—what happens when formerly unseen magical creatures are exhibited like preserved trophies as evidence of parts unknown. Recent work examines the transformation from veiled spirit to physical being and the distortion that accompanies the journey from internal realm to external world. I use these fantastical organisms to investigate how unseen internal states might take physical form and examine the shifting boundary between reality and fiction, inviting viewers to question what distinguishes a living body from an apparition. 

The work stems from a meticulous and labor-intensive collage practice. I collect and cut fragments of magazines and painted rag paper to produce bodies and environments full of pattern, texture and color. The collaged figures are then mounted on board to bring a sense of depth and movement to each work. In the shadow series, female figures and demonic creatures are suspended on opposite sides of a screen of rice paper. Depending on which perspective is viewed, either the woman or the monster, appears in shadow. By subverting expectations of front and back, the work aims to cast doubt over which side is more real.  

I draw on ghost stories and folklore to add a sense of familiarity to each work. Crafting a language that pulls from Grimms’ Fairy Tales and Japanese Yokai myths, my practice aims to produce images and installations that are both recognizably traditional and eerily uncanny. The collaged figures are meant to feel alive, but not of this world. They serve as tangible portraits of desire, fear, anxiety, and memory, giving material presence to forces that are often felt but rarely seen.