The ongoing series "Space to Erase Before You Can Imagine" sources found images of family photos taken from approximately the 1990’s to the 2000‘s. By choosing images from this time period, I am able to examine the types of messages and models of relationships that were exposed to me at an early age. The manipulations that I impose on these images is a private performance of examining and erasing patterns within the people existing in the photos. This process creates a space to imagine new relationship archetypes that may deviate from the cisgendered, heteronormative examples presented in our culture.
Collecting patterns is an installation piece examining the ways in which our bodies inhabit and perform normative ways of showing affection when it comes to romantic relationship. Forms begin to repeat the same formatting and patterns.
As a non-binary and non-monosexual person, I am forever operating in the spaces in between, carrying identities unrecognized by the larger society. Throughout this installation, I am exploring the fixated period of liminality that consists of waiting for the death or disintegration of my previous self and obtainment of valid recognition of the identity I am transitioning to.
How Much Force Does it Take to Blend Back
My documentation of the performance How Much Force Does it Take to Blend Back is an exploration of the feelings around being extracted from my family and past life through education, growing my own agency, and building a community in a new town. The act of throwing clay back into the earth is an exploration of exhaustion around trying to blend back once you have been extracted.
Writing Letters Just to Burn Them
The performance of Writing Letters Just to Burn Them is an examination of my relationships. The performance consists of writing a letter to each person in my life of what I would really like to tell them, sealing the envelope and then burning the letter. There is a tensions of how much do I tell people to where we can still maintain this structure of home.