The South I know is bold, brash, and loud. It is also sweet, subtle, and home to the most powerful people I have known. It is the generative source I draw from, a place that taught me the importance of a single voice, and the power of a collective one.

My art practice is based in the desire to utilize uncertainty as a tool for imaginative change. I draw from Jacques Rancière’s idea of the ‘Ignorant Schoolmaster’, creating research based projects following our political landscape-not as answers or statements, but as contemplative offerings. I am deeply interested in how the collective feeling, mythology, and ritual found in art can be used as a tool to engage with the instability of our world and in service of global liberation.

The works I make are a visual mapping of my own uncertain engagements in Texas, made by integrating the findings of my research into material and color choice, process guidelines, and referential content in the resulting artwork.

I will often combine photography, print, and three-dimensional elements to serve as different voices or values within the piece. The history of the research topic and the history of the mediums communicating and informing each other in one work creates a natural, subtle narrative that I layer on top of. This layering stays visually present through processes like multi-layer printing, stippled mark marking, shades of grayscale, or physical interaction with the work.

Most recently, I sought to understand my generation’s relationship to surveillance culture through the project “Who Watches The Watcher”, an interactive installation shown at the Texas Visual Arts Center in 2025. The attendees used a light box and the physical manipulation and layering of Xerox copies to reveal a role-subverting narrative about the surveilled and their surveiller.