ARTIST STATEMENT

My practice investigates how the female body is constructed through processes of social inscription, where language—particularly gossip, judgment, and reputational narrative—functions as a disciplinary force that flattens complexity, stabilizes identity, and contributes to the cultural erasure of women over time. Working within a Western social and visual framework, I approach the body not as autonomous, but as continuously shaped by external systems that define, regulate, and ultimately reduce lived experience into legible forms.

Sculpture allows me to examine how these forces become materially embedded. I work primarily with the female torso, isolating it as a site where identity is both projected and constrained. Through fragmentation, containment, and structural intervention, the body is repositioned as an object of scrutiny—one that reflects the pressures of visibility, judgment, and control. My use of framing devices, such as welded steel armatures, draws attention to the conditions under which the body is displayed, stabilized, and interpreted.

Material plays a central role in this investigation. In Core, a torso cast in sea-grass paper retains the fragility and porosity of its making, resisting the authority of fixed representation. This vulnerability is held in tension with rigid structural elements, suggesting how external narratives impose coherence onto an inherently unstable and lived body. In other works, zippers, seams, and ruptures function as points of access and division, exposing the instability between public identity and internal experience. Across the work, surfaces are not neutral; they carry inscriptions—both literal and implied—that speak to the cumulative effects of cultural and moral regulation.

My recent direction extends this inquiry toward the cultural invisibility of older women. If earlier works examine how the body is disciplined into form, this emerging body of work considers how it is gradually erased from visibility altogether. Here, absence, attenuation, and dissolution become central strategies, marking a shift from containment to disappearance. This transition reflects a broader concern with how value, visibility, and agency are unevenly distributed across the female lifespan.

While my work engages contemporary conceptual discourse, it maintains a commitment to technical rigor. I approach material refinement not as an end in itself, but as a critical strategy—one that reinforces the authority of the object while simultaneously exposing the systems that produce and constrain it. By holding precision and instability in tension, my practice seeks to create a space where the body can be understood not as fixed, but as continually negotiated through the forces that act upon it.

Ultimately, my work asks how identity is formed under conditions of scrutiny and control, and what remains of the body when it is defined, fragmented, and, over time, no longer seen.