My practice is primarily rooted in public communication and the building of ‘social networks’ as a means of distributing art objects beyond the gallery space. This work is a tool for political engagement. I have committed my studio practice to the private labors involved in the production of handmade objects for public consumption during this time of digital supremacy. The time spent in production acts as a rumination on resistance. The
‘slow’ methods of letterpress printing and hand papermaking also allow for the repurposing of otherwise discarded materials (i.e. used clothes and paper scrap) into feminist fury. The resulting text-based multiples ensure a tactile viewing experience and seamlessly transition from wall art to protest sign to print take-away and back again. They are meant for viewing in public spaces, such as, but not limited to: community health centers, alleys, hair salons, dating profile photos, bookstores and bar bathrooms. In my most recent body of work, I have transformed the ephemera resulting from letterpress printing, sewing and hand paper-making into figurative originals on canvas, that embody and represent an intersectional identity through interdisciplinary practice. The test and misprints gain a second life as a visual component and contextual information of a larger portrait. This process ties the political statements directly back to the body of the subject and the maker. The goal is to honor and celebrate the queer black body depicted at rest in domestic space. This representation is counter to the all too common hyper-sexualized, violent, or angry depictions and the constant threat of violence from institutional forces and other manifestations of the patriarchy (i.e. the police, the state or the market). The serial nature of the works echo this sentiment through representation and inclusion of organic materials commonly used in ritual