Growth Rings is a series of three soft sculptures, each hand-woven and crocheted using a different medium: acrylic yarn, second-hand clothes, and unwanted plastic bags. Made to resemble both a cross-section of a tree and a traditional rag rug, this piece explores memory, labour, and generational ties through the lens of ecofeminism.
Thank You, Have a Nice Day, 2019
Thank You, Have a Nice Day shines light on the rapidly increasing amount of waste humans are producing and consuming today. The piece, made from crocheted plastic shopping bags, offers an alternative destination for your waste, one that does not involve decomposing in a landfill for several decades. Inspired by sea motifs and motivated to counteract coral bleaching, the piece forces you to confront what often goes unnoticed or ignored - the safety of our oceans, the quality of our air, and the future of our children.
Inertia is a durational performance piece that explores the current age of anxiety from an ecofeminist perspective. Performed in a recreational pool, the artist treads for approximately 45 minutes to express feelings of hopelessness, panic, and anxiety surrounding environmental and feminist issues.
The Antibiosis of Mother Nature, 2019
The Antibiosis of Mother Nature explores the various effects patriarchal dominance has on both feminist and environmental issues today. The series of crochet sculptures seeks to embody the inherent relationship between the exploitation of women and nature by comparing the physical form and functions of the human body to that of coral. The personification of these foreign creatures evokes feelings of compassion and empathy within the viewer and encourages a more intersectional approach to feminism and climate change.
Entertain Me, 2019
Entertain Me is a performance in which the artist stares at herself in the front-facing camera and yawns, creating a loop of contagious yawns which lead her to seem progressively more bored. After each yawn, she switches her gaze directly to the viewer, waiting for them to yawn in return.
Entertain Me is a commentary on the male gaze as the the artist reclaims her power and asserts her dominance over the viewer, taking advantage of involuntary empathy and controlling their actions by making them yawn. The performance resembles a date and/or conversation in which the woman is forced to listen to the man but instead of hiding her boredom, she owns it - challenging the man to entertain her.
Inspired by ecofeminist theory, Spotting seeks to reveal the similarities between the female experience and that of Mother Nature. Alluding to menstruation, early detection, and trauma, the artist hopes to evoke feelings of compassion and empathy in the viewer that will motivate them to take a more intersectional approach towards both feminism and climate change.
Estonia is in reference to the German ship that sank on September 28, 1994 in the Baltic Sea with over 800 casualties. While some claim it was due to rough weather conditions, others have stated that bombs were planted by enemies due to the ship’s military involvement.
Alluding to the public controversy surrounding the causes, effects, and proof of climate change, Estonia acts as warning to take action in order to prevent a metaphorical shipwreck on a global scale.
Code Red, 2018
Code Red explores the stages of a women’s menstrual cycle emotionally and physically while providing commentary on the financial and environmental impacts of purchasing and using tampons.
Smother is a live performance piece in which the artist performs various actions while smothering herself with a crocheted tampon-like object. It explores concepts of womanhood, identity, comfort, and the physical and psychological pain associated with menstruation.
Stargazer is a video performance piece in which the artist connects the moles on her body with marker, reciting the constellations they resemble.
Originally used to relate stories of beliefs, experiences, creation, and mythology, constellations represent navigation and identity. Stargazer draws comparisons between the markings, history, and beauty of the female body and that of the night sky.
East to West, 2018
East to West is a video performance piece in collaboration with Iranian artist Sepideh Dashti. The two women take turns braiding, tying, and twisting their hair together, finishing the piece by pulling one braid apart using just their heads. The piece explores the tension between cultures and the connection through shared female experiences.
Storytellers is an ongoing mixed media series that explores the relationship between memory and the body, with the scar as the subject matter. A permanent mark of memory and a symbol of pain, sacrifice, healing, and strength: the scar tells a story. The piece includes analog photographs of women's scars, capturing an intimate moment between the photographer and the subject as they share their experiences of trauma. Inspired by the Japanese art of kintsugi, each photograph is accompanied by a tea cup that has been crocheted and repaired with gold yarn, mimicking the look of each individual's scar(s).
Storytellers investigates the connotations of the scar, the influence it has on a woman’s idea of the self, and the power of female connection through storytelling. The piece calls us to embrace our imperfections and experiences as they are what make us unique.
Appendage is a performance piece in which the artist wears a crocheted pair of shorts with a phallic appendage attached, performing various actions ranging from gentle stroking to aggressive hitting. It serves as a critique of masculinity, gender roles, and power while exploring the body in relationship to space.
Extricate is a video installation of a durational performance in which the artist wears a full bodysuit crocheted by hand, ties it to a post in her studio, and walks through a public space as the suit unravels. Once the suit unravels completely, she retraces her steps, picking up the trail of yarn she left over the course of 3 hours. The only thing that remains is a large ball of yarn.
Extricate, meaning to free (someone or something) from a constraint or difficulty, is an intimate piece that explores the journey of self-healing and the temporal nature of suffering.
Bedroom Hands, 2017
Bedroom Hands is a series of charcoal drawings of various hand positions used during times of intimacy. The piece explores symbolism and perspective, referencing sign language to draw the viewer in only to reveal the true meaning, alluded in the title. Showcasing actions performed independently or between individuals, Bedroom Hands encourages an open discussion about sexuality and attempts to normalize pleasurable acts.
Hey, Sexy, 2016
Hey, Sexy is an 8-page hand-printed book with illustrations of the 20 different birth control methods available for women and men. With the majority of methods being the female's sole responsibility, this book highlights the societal pressures placed on women to be prepared, regardless of their wants and needs. The piece also doubles as educational material for those interested in alternative methods of birth control.
V is a series of prints made using traditional copper-etching techniques. It is a play on vintage butcher shop diagrams, replacing the cuts of meat with character traits unique to the specific animal. The series shines light on the double standard humans have with domestic animals, such as dogs, and animals bred for consumption, such as pigs and cows. V confronts the viewer in a way that forces them to give their lifestyle and food choices a second thought.
Self-Love is a pair of oil paintings that promotes the normalization of female sexuality, masturbation, and menstruation through confrontational and intimate self-portraits.
Observational Drawing, 2017
A series of observational drawings using charcoal that study the basic principles of art and design.