About
I grew up in Southern California, and spent most of my life feeling disconnected from the past. History, or anything that suggested the words “historic” or even “old” was hard to find unless you knew where to look.
Los Angeles has a culture of erasure and disconnection.
In LA, visible remnants of the past are found only after digging. In both the urban landscape and my private family life, there were bouts of selective forgetting. And in the case of my family, sometimes uncovering the past proved to be painful.
My awareness of history changed when I moved to New York City, where the architecture and surroundings seem to always disclose their history. NYC has a storied history, but through years of working to uncover the past, it has become clear that not all stories are created equal
Understanding this moment in history.
My work comes from a place of deep curiosity and a desire to understand our place in history. I began making art as a way to engage deeply and remain buoyant at a time when there were few opportunities to truly to connect—to myself, to others, to any meaningful process.
I continue to make and teach artwork as a means of deepening my connection with myself and others. Whether it’s a direct connection made while teaching an art student a new technique, or a more oblique connection when my artwork reminds someone of their childhood home, my desire is to find the places where we see eye-to-eye with one another, even if we come from very different backgrounds.
Always a student.
I consider myself a lifelong student, and my curiosity leads me to immerse myself in materials and processes that are new to me. I began making artwork at the age of 16, and while I have mastery over some art processes, I am a happy novice with others.
The aesthetic and critical problem solving skills I use when I’m making and teaching art mirror the life skills I find so important for navigating the world right now: empathy, adaptability, patience, criticality and a willingness to listen. While working in the studio I exercise these skills, and can more easily model them when outside of the studio. Through years of making and teaching art, I’ve found that slowing-down and paying attention are assets to my work as an artist, mentor and community member.
