B.  Francistown, Botswana, 1996

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Artist Statement
Through paintings, drawings, and prints, my studio practice examines how place is represented when origin, geography, and language are unsettled. While familial migration and my own transnational experiences served as an early point of departure, the questions underpinning my work extend beyond autobiography toward a methodology grounded in affect and material knowledge. I approach the archive as an unfixed record, comprised of anecdote, partial recollection, relational exchange, and material trace.

Across figurative and botanical works, I consider how knowledge is produced, transmitted, and preserved. Both land and body recur as sites of familial and cultural significance capable of embodying memory. The figure carries trace evidence of movement, labor, and adaptation, while the garden operates as a record of material memory, where intention and care make legible the convergence of geographies and cultures. Together, they model forms of knowledge sustained through tending, reciprocity, and duration.

My process favors layering, fragmentation, and annotation as strategies for rendering visible the unstable yet generative conditions of migration and relational belonging. Through the incorporation of concrete, wood, cast metal, and glass alongside paint and charcoal, the materials of my wall-based works speak to histories of labor, permanence, and fragility. Multipanel configurations allow meaning to accrue through accumulation rather than resolution, positioning each work as part of a larger, evolving structure.

Across my practice, I am invested in making memory material and affect tangible, treating image-making as a way of holding what cannot be fully recovered while allowing new forms of relation to emerge.