My practice considers transformation as an act of agency. Working across sculpture, installation, textiles, beadwork, embroidery, and found or familiar materials, I examine what happens when an object is altered beyond its expected function. Through adornment, embellishment, repetition, and shifts in scale or material, recognizable forms become sites for memory, cultural knowledge, critique, and care.
I am particularly interested in the ways Indigenous people have adapted to systems and structures imposed upon us while continuing to reshape them through our own perspectives, practices, and knowledge. Histories of removal, displacement, extraction, and assimilation inform my work, but I am equally concerned with what persists: the ability to transform what we inherit, occupy, or encounter and make it our own. In this context, adornment is not simply decorative. It can assert presence, create value, preserve knowledge, and change the meaning of an object or space.
Material and process are central to this exploration. I often bring together materials with conflicting associations—hard and soft, utilitarian and ornamental, disposable and carefully made—and use repetitive, labor-intensive processes to alter how they are understood. Familiar objects allow an immediate point of recognition, while their transformation creates space for other histories and meanings to emerge.
My work moves between object and installation, and the relationship between the work, the viewer, and the surrounding environment is integral to how it is experienced. Whether working at an intimate scale or expanding an object into architectural or public space, I use transformation to reconsider what is familiar, what has been assigned value, and what can be reclaimed. Ultimately, my practice is concerned with the possibilities that emerge when transformation becomes a means of cultural agency: not simply adapting to the world as it exists, but actively reshaping it.
I am particularly interested in the ways Indigenous people have adapted to systems and structures imposed upon us while continuing to reshape them through our own perspectives, practices, and knowledge. Histories of removal, displacement, extraction, and assimilation inform my work, but I am equally concerned with what persists: the ability to transform what we inherit, occupy, or encounter and make it our own. In this context, adornment is not simply decorative. It can assert presence, create value, preserve knowledge, and change the meaning of an object or space.
Material and process are central to this exploration. I often bring together materials with conflicting associations—hard and soft, utilitarian and ornamental, disposable and carefully made—and use repetitive, labor-intensive processes to alter how they are understood. Familiar objects allow an immediate point of recognition, while their transformation creates space for other histories and meanings to emerge.
My work moves between object and installation, and the relationship between the work, the viewer, and the surrounding environment is integral to how it is experienced. Whether working at an intimate scale or expanding an object into architectural or public space, I use transformation to reconsider what is familiar, what has been assigned value, and what can be reclaimed. Ultimately, my practice is concerned with the possibilities that emerge when transformation becomes a means of cultural agency: not simply adapting to the world as it exists, but actively reshaping it.
