Vivid Dreams Only Happen in Rapid Eye Movement Sleep (VDOHREMS) 2019
Single Channel Video and Sound 33 seconds
Limited Edition 1 of 7
My video piece insists on a brevity and a near-nonchalance haphazardness to touch on the subject of our “hidden voices” within our subconsciousness. I drafted the visual first, then composed the sound piece, creating all works from my body (both vocalizations and image). An ode to the interlude, Vivid Dreams Only Happen in Rapid Eye Movement Sleep (VDOHREMS), challenges and embraces traditions to deconstruct habitual tendencies; using human vocalizations conceptualized through aural and visual cultures in relation to the transient digital landscape to create a tapestry that reflects a concurrent sinking in and breathing out.
Single Channel Video and Sound 33 seconds
Limited Edition 1 of 7
My video piece insists on a brevity and a near-nonchalance haphazardness to touch on the subject of our “hidden voices” within our subconsciousness. I drafted the visual first, then composed the sound piece, creating all works from my body (both vocalizations and image). An ode to the interlude, Vivid Dreams Only Happen in Rapid Eye Movement Sleep (VDOHREMS), challenges and embraces traditions to deconstruct habitual tendencies; using human vocalizations conceptualized through aural and visual cultures in relation to the transient digital landscape to create a tapestry that reflects a concurrent sinking in and breathing out.
Out of My Left Eye (a carnation bloomed), 2021
Digital Painting
Limited Edition 1 of 7
Digital Painting
Limited Edition 1 of 7
Wù/Mist, ca. 2019
Acrylic, paint, pencil on canvas
16 × 20 in
40.6 × 50.8 cm
Oftentimes in the Wù, our vision is seemingly clouded. Pulling from the book of James, “Why, you do not even know what will happen tomorrow. What is your life? You are a mist that appears for a little while and then vanishes.”
James 4:14 NIV translation. Using impasto technique, the artist builds blocks of white layers atop bright colourful strokes, only exposing faint semblance of hue peeking through— like walking into and out of a haze, leaving only traces of our chosen pigmentations.
Acrylic, paint, pencil on canvas
16 × 20 in
40.6 × 50.8 cm
Oftentimes in the Wù, our vision is seemingly clouded. Pulling from the book of James, “Why, you do not even know what will happen tomorrow. What is your life? You are a mist that appears for a little while and then vanishes.”
James 4:14 NIV translation. Using impasto technique, the artist builds blocks of white layers atop bright colourful strokes, only exposing faint semblance of hue peeking through— like walking into and out of a haze, leaving only traces of our chosen pigmentations.
空 / Kong, ca. 2019
Acrylic, acrylic on canvas
36 × 36 × 1 1/2 in
91.4 × 91.4 × 3.8 cm
Kong translates to space, absence or emptiness, often associated with a meditative state or prayer. Depending on the adjacent Chinese character, Kong can become “sky” or several other permutations. Specifically here, the artist applied a light drumming technique with paintbrush which is nearest to her intent— the drum is hollow as well but can make any rhythmic sound. Ultimately we can choose to fill the/our void with intention and thought—similar to how we curate words to create more/less kindness in our collective spaces.
Acrylic, acrylic on canvas
36 × 36 × 1 1/2 in
91.4 × 91.4 × 3.8 cm
Kong translates to space, absence or emptiness, often associated with a meditative state or prayer. Depending on the adjacent Chinese character, Kong can become “sky” or several other permutations. Specifically here, the artist applied a light drumming technique with paintbrush which is nearest to her intent— the drum is hollow as well but can make any rhythmic sound. Ultimately we can choose to fill the/our void with intention and thought—similar to how we curate words to create more/less kindness in our collective spaces.
selfiemonster, 2019
Mixed media and upcycled materials on canvas
48 × 36 × 3/4 in
121.9 × 91.4 × 1.9 cm
Beginning from pencil, then to pen, artist sketches a web and a derivative of her “cluttermonster” installation which is part of a larger body of work. Then like applying makeup, the artist used expired products (mascara, blush powder, eyeliner) to quite literally paint the selfiemonster’s face — commenting on the hyper performative state of daily life, the over documentation of it, and how that may disfigure or transform.
Mixed media and upcycled materials on canvas
48 × 36 × 3/4 in
121.9 × 91.4 × 1.9 cm
Beginning from pencil, then to pen, artist sketches a web and a derivative of her “cluttermonster” installation which is part of a larger body of work. Then like applying makeup, the artist used expired products (mascara, blush powder, eyeliner) to quite literally paint the selfiemonster’s face — commenting on the hyper performative state of daily life, the over documentation of it, and how that may disfigure or transform.