"The hands reaching up represent the common feeling of striving toward something better. Each hand is a different color (which is specifically not flesh toned) to represent unity and diversity."

"This artwork is part of my Yarn Bombings series. In this series I take cardboard and paper to create textures by tearing, cutting, and folding the material. Creating the textured foundations for these pieces makes me feel as if these works are extractions from an urban environment. Which is part of my research on World-Building. I then paint graffiti-like monikers on the foundation and line the moniker with yarn. I enjoy creating the Yarn Bombings because within one idea I reference my graffiti background and love for humor. In this body of work, I am subverting the idea of graffiti and yarn bombs that you would see in urban areas. Generally, graffiti is created with spray paint and yarn bombs are crocheted sleeves wrapping around an object. Yet, within my Yarn Bombings I am painting these illegible graffiti-like monikers and wrapping yarn around the symbol to give it visual depth. When I create these works, using color theory and texture experimentation is very important to my process because it determines how the final product looks and is displayed. For my Yarn Bombings, I pick very specific colors, materials, and texture so that all respectively illuminate each other.

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In They Say We’re Just Fragmented Cavemen I begin to experiment with different textures and additive materials to speak to the idea of having to work with your environment in a reactive method even if it is not ideal circumstances, like those who create graffiti illegally. In this series, I use color methodically to best compliment the environment I envision each piece to be set in. The monikers created in these works are purposely illegible to make sure the viewer does not add images to the thought of these works other than themselves."

"This work is part of my Forever a Child series in which I did research about where a large part of our identity stems from, which is our experiences, lessons, and memories from our childhood. The body of work also incorporated the Pavlovian Conditioning method which helped me remember recessed memories by putting myself in physical child-like positions and mental state. 

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I was a Flat Earther is a representation of what my childhood school desk looked like from first grade. The main piece of the memory is the books on the desk. As a young first grader, we were told the world was round but I did not understand this as the globe was presented as a flat oval in a book to us students. I would then ask “How do you get to the other side, and what is on the other side of the earth?” What made this memory even funnier is the fact that my family owned a globe, yet I could not put both concepts together."

"This artwork represents the many levels of feeling pain, sadness, pressure, guilt... those emotions that we try to bury inside. The pieces of ourselves that can often leave us feeling incomplete and keeps us continuing to fight against the darkness."

"I have painted people, buildings, hills, mountains, rocket ships, the moon, trees, and more trees, and triangles and squares and circles and gardens, all remembered or imaginary or in front of me. The Rose Laundry, in this journal, I painted on an easel on an early spring day from across the street. My favorite art museums have courtyards with a fountain or are near a courtyard with a fountain, where, weary of walking and looking at paintings, you may become one of the people drinking tea or coffee. It has been a long time since I have been at an art museum with a courtyard and a fountain. I will have to imagine one. 

It is a fine thing to be in a literary journal as an artist. Artwork may be to literature what a fountain is to a courtyard."