Growing up, I wondered how my friends and family could run so far, how they’d stand so tall, how they never doubted their plans for tomorrow. I fought tooth and nail to get to the bottom of this conundrum only to find that I was the odd one out, but I walked away with a laundry list of diagnoses and a handful of helpful new self-identifiers. I use clay, paint, cameras, papers, accessibility aids, sex toys, and much more to make art that tells my story and the story of my research. My perpetually serial works broach disability and communal identity through multiples. I destigmatize assistive devices through personification and portraiture, giving these devices much needed context as tools to improve standards of living. I make art that treats each assistive device, each diagnosis, as an opportunity to tell the story of the person making use of it through autofictive digital media, interactive ferrimagnetic pottery, and narrative painting. 

While my focus remains on disability theory, I additionally have a practice of mural painting figures and landscapes, exploring connections to nature and local community engagement. Freedom to produce work across a variety of concepts and series has become essential as an outlet for play in art for me. I find that this playful and less restrictive approach breathes life back into the work of my more deeply research and concept based works and I am proud to have no shortage of play in my practice.

I make pinched and slip-cast figurative and medical device inspired ceramics, acrylic and gouache painted portraiture, and dramatic short films, to give my research related to disability tangible and more broadly accessible forms. I vacillate between candid portrayals in my autofictive works and looser abstractions in my functional art series, breaking down my experiences and research practice related to disability. I am creating visual touchstones for invisible phenomena.