By incorporating deliberate process-driven art and the idea of domestic labor such as cooking and weaving, my practice seeks to connect with women across history and culture. Each work is presented as a quiet resistance to narratives of hegemonic masculinity, offering a more harmonious alternative. I work to challenge the myth of separateness amidst people and between humanity and the natural world. Through my practice I hope to honor the histories and legacies of women artists while imagining new models of being.

My practice combines photography, film, and textile to explore ways of restoring and healing our

relationships to nature, to one another, and to ourselves. It is rooted in the history of photography, but over time I felt a need to expand its possibilities by incorporating tactile weaves and focus on materiality. Guided by science, the earth, and spirituality I draw on ecofeminist themes that reflect on the role of the artist as both the caregiver and steward of the natural world.

My working process is slow, research-driven and grounded in cross-disciplinary historical references. I have been studying women photographers for a long time. This approach manifests in my large photo-weave constructs, collages, analog photography and written publications.

The large-scale constructions negotiate between the screen and the loom. They form a dialogue between shaped analog, large-format black and white gelatin silver prints or color C-prints mounted on aluminum, and handwoven textile. Each weaving is produced through a laborious yet meditative process, made by hand from natural fibers on custom-built shaped looms. They are exhibited on the very looms on which they were made as an indication of their creative process.

Smaller works include drawings and collages that merge woven materials with photographs, as well as watercolor and oil paintings depicting women dancing. The undulating, body-like dunes that appear throughout these pieces evoke both sensuality and desolation. They embody a reflection on systems that have subjected both women and the natural world to cycles of neglect and exploitation.

My video practice stems as well from my background in photography and my interest in cinema and its collaborative nature. Each of my video projects evolve through travel and social immersion, shaped by engagement and collaborations with local communities, gatherings and local guides. For example in my most recent piece Sunwave~, I traveled repeatedly to the remote desert location, on my own, and my engagement and collaboration with locals became integral to the creation of the piece.