My practice operates at the intersection of material, memory, and movement. While I work across sculpture, painting, and installation, much of my process functions as performance grounded in inherited labor. Drawing from a lineage of carpentry, welding, cleaning, cooking, and repair, I treat repetition as both a material strategy and embodied knowledge.

In the studio, labor becomes choreography. Rebuilding, sanding, scrubbing, stitching, and assembling are not symbolic gestures; they are inherited movements carried in the body. The work is often repetitive and sometimes physically tiresome. That fatigue is intentional. It reflects the endurance embedded in working-class survival and the emotional weight of generational resilience.

Through reclaimed materials and repeated action, I examine how labor shapes identity and how repair can function as care.

The body becomes an archive. Movement becomes memory. The work asks what it means to carry survival in your hands—and how art might transform inherited exhaustion into structure, agency, and renewal.