My artwork is my subconscious attempt to piece together an inherited past that is always falling apart, mending itself back together, and seeks to depict my memories introspectively in the form of parafiction. I work intradisciplinarily, utilizing drawing, sculpture, and installation to revisit familial stories only told in words and inject these stories with my own characters— heroes, villains, con artists, and time travelers. These characters counteract an absence that sits in memories, specifically the memories of laborers who come from laborers who come from indentured laborers. Intergenerational connections deeply influence our pasts, as well as our futures, and our present, and exist like a narrative that is not linear but is happening all at once, intertwined.

Trauma stored in the epigenetic markers of our DNA tells us that everything experienced before us is still being processed. Processing, in the modern age, is synonymous with the speed at which the future progresses. Portals, machines, skyscrapers, and the interworkings of urban society become the backdrop of my practice, and prompt questions like: Why does it feel like this infrastructure has been here forever? How does time function in a place that is always being reconstructed? What does something old feel like and look like? Is it deceiving?

I am drawn to materials that fight process, and sometimes that fight becomes the work itself. Particular materials, such as sawdust and carborundum, feel like I am playing with evolutionary excess, making it work instead of sit, whereas drawing on paper feels reactionary to an archive of personal and found imagery. A drawing can manifest itself in different mediums and in its materiality, it skips through time.