As our daily lives become increasingly entwined with immaterial digital spheres, my works exist as a process of mapping the material world and technologies’ affect on corporeal experience. I consider the technological and the organic to be connected through their fluidity – the liquid ability of code, DNA, and experiences of time to reform according to the context of their surroundings.
I begin with assemblages—projecting images of my body onto plants, Plexiglas, holographic vinyl, natural materials, detritus, and fake flora—to capture the mutual affectivity between ‘human’ and ‘more-than-human’ in moments of sensory engagement. These moments of mutual becoming are digitally photographed and their emergent forms processed again through paint’s materiality; bleeding washes, pours and drips. In this way, I playfully dissect and reassemble ‘human’ signifiers through the inherent creativity within unexpected material and digital conversations. These portraits-of-the-self redefine the boundaries between figure, objects, and the environment. New forms are allowed to emerge; defying notions of the pure, individual body.
As a neurodiverse individual, I often experience structures of time, bodily sensations, and my environment in a heightened state of awareness, chaos, or disconnection. For this reason, I focus on painting’s ability to activate sensation as both a constructed image and an object. Using unconventional hanging and works that extend into and emphasize the contours of space, I create image-objects that form environments of interdependence and flux, emphasizing the relationship between human corporeality and ‘more-than-human’ others.
