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It is in multiplicity that I find myself expanding beyond my previous intellectual confinement. Just so, I make art free of containment, refusing material or ideological limitations. Through this varied approach, I aim to find balance between the personal and universally relatable human experiences, as well as to spark in my viewers the same passion for deep emotions and thinking that I so value in my own life. The result is an array of expression in all forms and mediums, from conceptual crochet, to feminist photography; abstract painting, to nature-inspired metalwork, broken glass configurations, uncomfortably honest performances, and more. The viscerality of physical art is important to me: I need to feel the paint on my skin and brush off the sawdust of my days. Feeling is being and it is in this act that I intertwine myself with my work. I like to capture the beauty of the soul of things. I dream of removing human control, unleashing more organic expressions that mimic how things occur in nature. I specifically pay attention to the very things that we try to ignore on a daily basis—trash, baggage. But I think these objects are like diary entries. They tell stories because someone, somewhere, thought there was value in holding it. The reused object thus contains the untold stories of countless people. My art often examines mental health and grief through a wide variety of mediums as an entry point into human experiences. Discussing such difficult topics as suicide and loss so openly challenges the stigmas surrounding mental illness. And making art while struggling with these maladies of the mind is a way for me to fragment off a piece of that pain and contain it within the work, as if capturing my demons in horcruxes. Baring my soul in such raw moments opens the door for others to see their lives and struggles. Through observing my personal experiences of grief and hurt, viewers can feel less alone managing their own bereavement and healing process.