STATEMENT

My work interprets the psychological and physiological effects of trauma through a queer ecological lens. The invasive and parasitic flora stemming from human forms suggests a corruption in the ecosystem of self and garden of memory. My overgrown and grafted anatomies visualize a cycle of transfigurement to who, how, and what we are as a result of trauma being treated like a noxious weed. The bilateral symmetry alludes to the Rorschach inkblot tests and their association with trauma and memory to initiate a self-projective dialogue with the viewer.

I see the print as kin to the carving, a literal reflection of its ancestor and an inheritor of its patterns. The notion of trauma as an heirloom has led me to the continual manipulation and distortion of prints through material and form as a way to explore evolution, autonomy, and the ends and beginnings of generational cycles.