In my practice as a mixed-media artist, I use a range of materials and practices to transverse intricate ideas of queerness and gender, guided by my intuition and experience. I investigate queerness through tension and harmony between beauty and grotesqueness, creating correspondence between the two. By engaging with genderless and peculiar depictions of clowns, queer rage can be percieved. Constantly challenging and rebelling ideas of beauty, I seek to push boundaries of what can be and is considered painting and art objects.

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Art objects are traditionally made with the idea in mind that they should last as they are or be preserved in a way that will prevent decomposition. Conversely, I create art objects, which I often identify as specimens, with acknowledgement, acceptance, and hope that they will change over time. I allow for corrosion, the liquid congealing and becoming murky, the objects degrading and falling apart, paint peeling. As the objects dissolve, the liquid becomes grotesque and the objects become harder to discern. In opposition to the traditional function of specimen jars, to preserve,  beauty for me is found through the eventual change and ugliness of a being and vessel. 

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In my practice I explore a great number of ideas. Being influenced by my experiences, emotions, desires, desperations and rage, I explore my identity and reflect on how I navigated the world as a closeted queer child.  I commonly reference that figure of genderless clown, dissecting clown as queerness and as species. I allow figures and spaces in my work to become abstracted, to disgust, unease, and to become chaotic. Through impulsive mark-making in experiences of high emotion and intentional detailed or refined moments, I allow for both patience and impatience in my practice. Gaze, texture, silence, and detail are used as mechanisms for the production of visceral malaise.